This page is intended as a supplement to standard chord charts and knowledge: when I discover a new (to me) chord shape or way to play it, I’ll record it here. The charts below indicate tuning on the left, actual note on the right, where on the neck we are and which fingers to use. T is thumb, 1 is index finger. Numbers in brackets indicate a bar. An O after the string note indicates open, an X means that the string should be damped or not played. Do not use the accompanying photos as a technique guide, as a) I may have moved fingers into silly places for clarity and b) I’m not a very good guitarist.

[A/C#] [Am7/G] [Bm7] [Bsus4/E or Emaj9] [D/F#] [E/G#] [Em9]

A/C#

This works for most first inversions (bass note is the third)—just move it up the neck (more on inversions and other slash chords).

   0   1   2   3   4   5    
E  |---|---|---|---|-4-|  A
B  |---|(1)|---|---|---|  C#
G  |---|(1)|---|---|---|  A
D  |---|(1)|---|---|---|  E
A  |---|---|---|-3-|---|  C#
E X|---|---|---|---|---|

Am7/G

This is the second chord in He is the Lord, following on from the standard open G.

   0   1   2   3   4    
E  |---|---|-4-|---|  G
B  |-1-|---|---|---|  C
G O|---|---|---|---|  G
D  |---|-2-|---|---|  E
A X|---|---|-D-|---|  A
E  |---|---|-3-|---|  G

Here, the A string is damped by the ring finger holding the bottom G. The open A could form part of the chord, but the small G-A gap would sound very muddy. This is only really an Am7-based chord in context with the surrounding chords and other instruments.

Bm7

This has a nice full and “open” sound to it. Bit of a stretch for the thumb, but it’s quick and easy to find and avoids barring. Could also be used as D/B.

   0   1   2   3   4    
E  |---|-2-|---|---|  F#
B  |---|---|-3-|---|  D
G  |---|-1-|---|---|  A
D O|---|---|---|---|  D
A  |---|-T-|---|---|  B
E X|---|---|---|---|

Bsus4/E or Emaj9

I use this in place of the E/D# in Let everything that has breath if I’m not using a capo. Some use this as a “cheat” open B, not playing the outer E strings.

   6   7   8   9   10    
E O|---|---|---|---|  E
B O|---|---|---|---|  B
G  |---|-1-|---|---|  D#
D  |---|---|-3-|---|  B
A  |---|---|-2-|---|  F#
E O|---|---|---|---|  E

D/F#

   0   1   2   3   4    
E  |---|-2-|---|---|  F#
B  |---|---|-3-|---|  D
G  |---|-1-|---|---|  A
D O|---|---|---|---|  D
A O|---|---|---|---|  A
E  |---|-T-|---|---|  F#

E/G#

A common but troublesome chord.

My first version is a bit weak compared with the D/F# above due to the missing open A and D strings, and best used as a passing chord only. It can be used for any first inversions up the neck though.

   2   3   4   5   6    
E  |---|-2-|---|---|  G#
B  |---|---|-3-|---|  E
G  |---|-1-|---|---|  B
D X|---|---|---|---|  
A X|---|---|---|---|  
E  |---|-T-|---|---|  G#

Stuart Townend uses the shape below for this chord, but I can’t persuade my fingers to do this. He writes:

On the E/G# subject, the chord I use is 422400, where the A and D string are being barred by my forefinger, the first section of which is flat against the fretboard, but the finger then lifts at the second joint to leave the top 2 strings open! I don’t know if everyone can do this, but that’s how I do it. Sounds quite full.

   0   1   2   3   4    
E O|---|---|---|---|  E
B O|---|---|---|---|  B
G  |---|---|---|-3-|  B
D  |---|(1)|---|---|  E
A  |---|(1)|---|---|  B
E  |---|---|---|-2-|  G#

Eli Awtrey wrote to me with this alternative to Stuart’s, damping the A string rather than using the barre:

   0   1   2   3   4    
E O|---|---|---|---|  E
B O|---|---|---|---|  B
G  |---|---|---|-3-|  B
D  |---|-1-|---|---|  E
A X|---|---|---|-x-|  
E  |---|---|---|-2-|  G#

If you have very long fingers, perhaps you could try this one:

   0   1   2   3   4    
E O|---|---|---|---|  E
B O|---|---|---|---|  B
G  |-1-|---|---|---|  G#
D  |---|-2-|---|---|  E
A  |---|-3-|---|---|  B
E  |---|---|---|-4-|  G#

Em9

   0   1   2   3   4    
E  |---|-3-|---|---|  F#
B O|---|---|---|---|  B
G O|---|---|---|---|  G
D O|---|---|---|---|  D
A  |---|-1-|---|---|  B
E O|---|---|---|---|  E