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Capo chord chart5/1/2023 The open chord pattern (which results in your chosen chord) is shown under fret number for capo placement. To use the capo chart, below, find the actual chord in the left column. The tutorial is also available as a public document on my google drive as either a Libre Office ODT document or a PDF document. Would you like to learn more about music theory for self-taught musicians and get a better understanding of the Nashville Number System? This simple tutorial may be helpful. Add modifications to the chord (such as minor, 7th, 9th, etc.) to match your source chords. Now move to the key to which you wish to transpose and convert the numbers back to chords. If you encounter a song which gives you difficulties, for any reason, and would like help, send us a message (from our Contact page) and I'll be glad to help you out.įind the root key in the left column and proceed to your right, finding each of the chords in the piece and joting down their numbers (chords are shown by the number system, based on the key and the root key becomes 1). Note 4: Composers aren't restricted to any particular structure, they can use any chord they like, anywhere they like so this chart won't work for every piece of music but it should be effective for most songs. Note 3: The 7 chord is based on a flat 7th rather than the actual 7th note of the scale. Note 2: If the composer uses natural sequence chords (all notes remaining within the scale of the key) the 1, 4, and 5 chords will be major, while the 2, 3, and 6 chords will be minor. This chart is also set up for major keys so it may have discrepancies in minor keys which you can correct by finding the root note of your minor chord under the 6 column and getting numbers of your chords from that row then find the new minor key in the 6 column and use numbers from that row to convert back to chords. Note 1: I've deliberately elected to go with more commonly used keys avoiding obscure, awkward keys like A#, C#, D# and Gb. To transpose the chords correctly, you need to move each chord by the same distance that you've moved the F, which is three semitones (three frets). In like manner, every other chord in the key needs to be transposed in the same way, so let's do that too. This means that anytime the song has an F chord written, you need to play a D chord instead (with that capo on the 3rd fret, of course.) ![]() Therefore, if you capo at the third fret, you can play an open D major chord shape and it will give you an F major chord. That gets us closer, but we need two more frets to get to F (the distance from E to F is a natural semitone - if that doesn't make sense please watch this). If open position gives you a D, then if you placed the capo on the first fret, it would turn that D into a D#, right? Everything moves up by one semitone. To figure this out, you need to find a location on the fretboard where an open D major chord shape becomes an F. ![]() Thankfully, you have a capo that you can use to transpose the chords with, and you have a clever idea to use the chords from the key of D, transposed up! Say the song is in the key of F, but you don't want to deal with those pesky bar chords. The whole idea is to remain in the same key right? The only sense in which you're changing keys is in that you're changing to the open chord shapes of a particular key. This might be a bit confusing, but keep in mind you're not actually changing keys. If you move the capo UP X number of frets, you need to transpose your guitar chords DOWN by the same number of semitones.Įach fret is a semitone, right? So in order to maintain the balance, if you go up with the capo, you need to go down with the letter names of your open chords.
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