A major is one of the easier chords to play on , although on some s with close string spacing, players with larger fingers can sometimes struggle to hold down the three notes cleanly. Don’t be afraid to squidge the fingers together tightly, and angle your hand so that the fingers are as close to the second fret as possible.
A major is a great key for songwriting, partly because chords IV and V, D and E, are available as open string chords. Unfortunately, all the other common chords in A, such as Bm, C♯m and F♯m don’t really work as open string chords.
The notes of A major are A, C sharp, and E. There are many ways to play A major on the , and the basic chord can easily be adapted to include the usual extensions such as sixth, seventh, ninths and so on. For this Chord Clinic, however, we are going to stay with the basic A major chord, working through as many voicings and inversions as we can.
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Ideal for everything from folk strumming to heavy rock this is the fundamental A chord that most of us learn early in our playing career. You can also just play the middle four strings, or play the four highest strings, which will give you A/E, which means A with an E bass.
Chords sound strongest in root position and this movable shape is good for choppy rhythm parts or funk. The higher voicing gives it more sparkle, so Indie-style arpeggios work well too. You can always add the open A string for more weight and playing just the three highest strings is also an option.
Moving higher up the , this first inversion chord (because C♯, the third, is in the bass) adds even more sparkle. The top three strings or the inner three strings both give you an A major chord as well, and a world of fascinating arpeggios awaits as you switch between these two 3-note shapes with the optional open A string too.
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Completing the set of inversions, this second inversion shape is essentially figure 1 played as a four-string chord up above the 12th fret. Don’t forget you can also play figure 2 at the 17th fret, giving you the entire neck in four-string A major chords with root position, first, and second inversions.
Here, we have gone back to figure 1 and added a C♯ bass note, creating a first inversion voicing an octave lower than figure 3. Adding bass notes to chords in this way can create some strong root movement – try playing figure 1, figure 5 and then a D major chord.
Staying with the middle four strings of the , this second inversion chord can still do the choppy rhythm thing but with a beefier lower voicing. Mute the outer strings with the underside of finger one and the tip of your thumb. Try releasing the finger pressure momentarily for percussive strumming effects.
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This root position chord may not be the most comfortable, but you can get used to most things, and its voicing on the wound strings rather than the plain strings of figure 2 give it a certain fatness. For rhythm parts we like these chunky four-note chords a whole lot.
Pursued vigorously by beginner ists, the full barre chord is seen as something of a Valhalla. It sounds great in certain circumstances, but experienced players are more likely to play figure 9 unless you really must have the high A at the top.
Removing the unnecessary doubled notes from figure 8 gives you a cleaner, tighter, and more easily movable chord. We would suggest, however, that if you are on a nylon string, getting your thumb over the edge of that wide neck is going to be tricky. So re-finger it, or play a barre chord, or switch to acoustic!
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Here we have a first inversion chord which follows on from figure 9. Play D or D minor next, or anything else you would like to try. You could also go back to figure 1 and work your way through the chords substituting G♯ for A, to make an A major seven chord. Or add G for A7, F♯ for A6 and so on. Have fun and see what you come up with!
Rod Fogg is a London-based ist, teacher and writer. He is the author of The Ultimate Course (Race Point 2014), the Electric Handbook (Backbeat, 2009) and contributed to bestseller The Totally Interactive Bible (Jawbone Publishing, 2006).The basic F major barre chord is often the first barre chord that beginners come up against, as F is chord IV in the popular key of C major. It’s a challenge to play not only because it’s a barre chord, but also because of its position at the first fret, precisely where the nut is holding up the strings that the hapless ist is trying to hold down.
One way of avoiding F is to use a capo – you could capo the third fret and play a D major chord, or the fifth fret and play a C major shape. You could also capo the first fret and play E, but in each case all the other chords in the song will need to be adjusted to the new key.
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The notes of F major are F, A and C, that’s root, third and fifth of an F major scale. As you play these examples see if you can find the major seventh (E) or minor seventh (E♭) to add to the chords, giving you an F major seven or F seven. Or just experiment with added notes and open strings and see what you find. Have fun and we’ll see you next month.
This is the big one, the F barre chord down where the nut is fighting against you. We suggest practising this chord shape at the fifth fret, (where it will make an A major chord) and working your way down the fret by fret until you master it at the first fret. Be patient and try to get each note to sound cleanly.
Here we have the “thumb over” version of F, which we like a lot. Not only is it more compact and better sounding, but it avoids the barre altogether. On the downside, you have to mute the top E and the A string, and have hands big enough to reach the first fret on the low E with your thumb.
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Technically a “slash chord”, F with C bass, this version of F major is not so hard to hold down. You’ll need to mute both E strings, with first finger and third finger respectively. This chord sounds particularly good if you are alternating between C major and F major chords.
Also not hard to hold down, this low voicing of F mutes the top E and B strings with the underside of the first finger, and sounds thick and chunky. If you release finger two and mute the G string as well, you’ll have an F5 chord, containing just roots and fifth. Ideal for that metal opus you were planning.
Here, we’ve gone for a higher voicing of F major, easier than Figure 1 because you are only barring two strings with the first finger. Mute the A string with the tip of finger three and you can strum freely. Just don’t hit the low E. Try this chord up at the thirteenth fret too.
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At the sixth fret you can find F major in first inversion, which means the third of the chord, A, is the bass note. First inversion chords sound less focused and solid than root position chords. Compare this one to figure 5.
Here we have a second inversion chord with C, the fifth, in the bass. Instead of using fingers two, three and four, try laying finger three flat across the middle of the 10th fret. Figures 5, 6 and 7 can be choppy, funky or played with arpeggios and give you some useful options if the music stays on F for a few bars.
This shape is the same notes as Figure 5, but moved over to the middle four strings of the . Try turning finger one into a half-barre to add the note A on the top string, as in Figure 6. This one takes a bit of getting used to but it’s a useful chord shape.
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Here we have an alternative version of F/C, with the high F on the top string at the 13th fret. Lower this note one fret to E and you’ll have Fmaj7. One fret more and E♭ will give you F7. Barre the top four strings at the 10th fret and you’ll have F6.
This shape introduces the ‘other’ barre chord version of F major, with the barre coming from finger three. The tip of the index finger mutes the low E string. Remember the great thing about barre chords is that they can be played at any fret. One fret down would be E major, then E♭ (or D♯) major and so on.
Rod
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