Гитарадағы ноталар жиынтығы немесе аккордтар туралы

Set of notes played on a guitar

In music, a guitar chord is a set of notes played on a guitar. A chord's notes are often played simultaneously, but they can be played sequentially in an arpeggio. The implementation of guitar chords depends on the guitar tuning. Most guitars used in popular music have six strings with the "standard" tuning of the Spanish classical guitar, namely E–A–D–G–B–E' (from the lowest pitched string to the highest); in standard tuning, the intervals present among adjacent strings are perfect fourths except for the major third (G,B). Standard tuning requires four chord shapes for the major triads. There are separate chord forms for chords having their root note on the third, fourth, fifth, and sixth strings. For a six string guitar in standard tuning, it may be necessary to drop or omit one or more tones from the chord; this is typically the root or fifth. The layout of notes on the fretboard in standard tuning often forces guitarists to permute the tonal order of notes in a chord. The playing of conventional chords is simplified by open tunings, which are especially popular in folk, blues guitar and non Spanish classical guitar (such as English and Russian guitar). For example, the typical twelve bar blues uses only three chords, each of which can be played (in every open tuning) by fretting six strings with one finger. Open tunings are used especially for steel guitar and slide guitar. Open tunings allow one finger chords to be played with greater consonance than do other tunings, which use equal temperament, at the cost of increasing the dissonance in other chords. The playing of (3 to 5 string) guitar chords is simplified by the class of alternative tunings called regular tunings, in which the musical intervals are the same for each pair of consecutive strings. Regular tunings include major thirds tuning, all fourths, and all fifths tunings. For each regular tuning, chord patterns may be diagonally shifted down the fretboard, a property that simplifies beginners' learning of chords and that simplifies advanced players' improvisation. On the other hand, in regular tunings 6 string chords (in the keys of C, G, and D) are more difficult to play. Conventionally, guitarists double notes in a chord to increase its volume, an important technique for players without amplification; doubling notes and changing the order of notes also changes the timbre of chords. It can make possible a "chord" which is composed of the all same note on different strings. Many chords can be played with the same notes in more than one place on the fretboard.

The theory of guitar chords respects harmonic conventions of Western music. Discussions of basic guitar chords rely on fundamental concepts in music theory: the twelve notes of the octave, musical intervals, chords, and chord progressions.

The perfect fifth interval is featured in guitar playing and in sequences of chords. The sequence of fifth intervals built on the C major scale is used in the construction of triads, which is discussed below.

Concatenating the perfect fifths ((F,C), (C,G), (G,D), (D,A), (A,E), (E,B), ) yields the sequence of fifths (F,C,G,D,A,E,B, ); this sequence of fifths displays all the notes of the octave. This sequence of fifths shall be used in the discussions of chord progressions, below.

The perfect fifth interval is called a power chord by guitarists, who play them especially in blues and rock music. The Who's guitarist, Peter Townshend, performed power chords with a theatrical windmill strum. are discussed. These basic chords arise in chord triples that are conventional in Western music, triples that are called three chord progressions. After each type of chord is introduced, its role in three chord progressions is noted. Intermediate discussions of chords derive both chords and their progressions simultaneously from the harmonization of scales. The basic guitar chords can be constructed by "stacking thirds", that is, by concatenating two or three third intervals, where all of the lowest notes come from the scale.

Be they in major key or minor key, such I–IV–V chord progressions are extended over twelve bars in popular music—especially in jazz, blues, and rock music. The twelve bar blues structure is used by McCartney's "3 Legs",

Unlike the piano, the guitar has the same notes on different strings. Consequently, guitar players often double notes in chord, so increasing the volume of sound. Doubled notes also changes the chordal timbre: Having different "string widths, tensions and tunings, the doubled notes reinforce each other, like the doubled strings of a twelve string guitar add chorusing and depth". Notes can be doubled at identical pitches or in different octaves. For triadic chords, doubling the third interval, which is either a major third or a minor third, clarifies whether the chord is major or minor. Unlike a piano or the voices of a choir, the guitar (in standard tuning) has difficulty playing the chords as stacks of thirds, which would require the left hand to span too many frets, particularly for dominant seventh chords, as explained below. If in a particular tuning chords cannot be played in closed position, then they often can be played in open position; similarly, if in a particular tuning chords cannot be played in root position, they can often be played in inverted positions. A chord is inverted when the bass note is not the root note. Additional chords can be generated with drop 2 (or drop 3) voicing, which are discussed for standard tuning's implementation of dominant seventh chords (below). When providing harmony in accompanying a melody, guitarists may play chords all at once or as arpeggios. Arpeggiation was the traditional method of playing chords for guitarists for example in the time of Mozart. Contemporary guitarists using arpeggios include Johnny Marr of The Smiths.

A six string guitar has five musical intervals between its consecutive strings. In standard tuning, the intervals are four perfect fourths and one major third, the comparatively irregular interval for the (G,B) pair. Consequently, standard tuning requires four chord shapes for the major chords. There are separate chord forms for chords having their root note on the third, fourth, fifth, and sixth strings. Of course, a beginner learns guitar by learning notes and chords, and irregularities make learning the guitar difficult—even more difficult than learning the formation of plural nouns in German, according to Gary Marcus. Nonetheless, most beginners use standard tuning. Another feature of standard tuning is that the ordering of notes often differs from root position. Notes are often inverted or otherwise permuted, particularly with seventh chords in standard tuning, as the following examples illustrate.

Already in basic guitar playing, inversion is important for sevenths chords in standard tuning. It is also important for playing major chords. In standard tuning, chord inversion depends on the bass note's string, and so there are three different forms for the inversion of each major chord, depending on the position of the irregular major thirds interval between the G and B strings. For example, if the note E (the open sixth string) is played over the A minor chord, then the chord would be [0 0 2 2 1 0]. This has the note E as its lowest tone instead of A. It is often written as Am/E, where the letter following the slash indicates the new bass note. However, in popular music it is usual to play inverted chords on the guitar when they are not part of the harmony, since the bass guitar can play the root pitch.

There are many alternate tunings. These change the way chords are played, making some chords easier to play and others harder. Open tunings each allow a chord to be played by strumming the strings when "open", or while fretting no strings. Open tunings are common in blues and folk music, and they are used in the playing of slide guitar. Drop tunings are common in hard rock and heavy metal music. In drop D tuning, the standard tuning's E string is tuned down to a D note. With drop D tuning, the bottom three strings are tuned to a root–fifth–octave (D–A–D) tuning, which simplifies the playing of power chords. Regular tunings allow chord note forms to be shifted all around the fretboard, on all six strings (unlike standard or other non regular tunings). Knowing a few note patterns—for example of the C major, C minor, and C7 chords—enables a guitarist to play all such chords.

An open tuning allows a chord to be played by strumming the strings when "open", or while fretting no strings. The base chord consists of at least three notes and may include all the strings or a subset. The tuning is named for the base chord when played open, typically a major triad, and each major triad can be played by barring exactly one fret. Open tunings are common in blues and folk music, "Sonny Landreth, Keith Richards and other open G masters often lower the second string slightly so the major third is in tune with the overtone series. This adjustment dials out the dissonance, and makes those big one finger major chords come alive." Repetitive open tunings are used for two non Spanish classical guitars. For the English guitar the open chord is C major (C–E–G–C–E–G); for the Russian guitar which has seven strings, G major (G–B–D–G–B–D–G). Mixing a perfect fourth and a minor third along with a major third, these tunings are on average major thirds regular tunings. While on average major thirds tunings are conventional open tunings, properly major thirds tunings are unconventional open tunings, because they have augmented triads as their open chords.

Guitar chords are dramatically simplified by the class of alternative tunings called regular tunings. In each regular tuning, the musical intervals are the same for each pair of consecutive strings. Regular tunings include major thirds (M3), all fourths, augmented fourths, and all fifths tunings. For each regular tuning, chord patterns may be diagonally shifted down the fretboard, a property that simplifies beginners' learning of chords and that simplifies advanced players' improvisation. The diagonal shifting of a C major chord in M3 tuning appears in a diagram. Further simplifications occur for the regular tunings that are repetitive, that is, which repeat their strings. For example, the E–G–c–e–g–c' M3 tuning repeats its octave after every two strings. Such repetition further simplifies the learning of chords and improvisation; This repetition results in two copies of the three open strings' notes, each in a different octave. Similarly, the B–F–B–F–B–F augmented fourths tuning repeats itself after one string. A chord is inverted when the bass note is not the root note. Chord inversion is especially simple in M3 tuning. Chords are inverted simply by raising one or two notes by three strings; each raised note is played with the same finger as the original note. Inverted major and minor chords can be played on two frets in M3 tuning. In standard tuning, the shape of inversions depends on the involvement of the irregular major third, and can involve four frets. It is a challenge to adapt conventional guitar chords to new standard tuning, which is based on all fifths tuning.

After major and minor triads are learned, intermediate guitarists play seventh chords.

In major thirds (M3) tuning, the chromatic scale is arranged on three consecutive strings in four consecutive frets. For each hand position of four frets, the hand is stationary and the fingers move, each finger being responsible for exactly one fret. Consequently, three hand positions (covering frets 1–4, 5–8, and 9–12) partition the fingerboard of classical guitar, which has exactly 12 frets. Only two or three frets are needed for the guitar chords—major, minor, and dominant sevenths—which are emphasized in introductions to guitar playing and to the fundamentals of music. Each major and minor chord can be played on exactly two successive frets on exactly three successive strings, and therefore each needs only two fingers. Other chords—seconds, fourths, sevenths, and ninths—are played on only three successive frets.

The circle of fifths was discussed in the section on intermediate guitar chords. Other progressions are also based on sequences of third intervals; progressions are occasionally based on sequences of second intervals.

In popular music, chords are often extended also with added tones, especially added sixths.

Chords are also systematically constructed by stacking not only thirds but also fourths and fifths, supplementing tertian major–minor harmony with quartal and quintal harmonies. Quartal and quintal harmonies are used by guitarists who play jazz, folk, and rock music. Quartal harmony has been used in jazz by guitarists such as Jim Hall (especially on Sonny Rollins's The Bridge), George Benson ("Skydive"), Kenny Burrell ("So What"), and Wes Montgomery ("Little Sunflower"). Harmonies based on fourths and fifths also appear in folk guitar. On her 1968 debut album Song to a Seagull, Joni Mitchell used both quartal and quintal harmony in "Dawntreader", and she used quintal harmony in "Seagull". Quartal and quintal harmonies also appear in alternate tunings. It is easier to finger the chords that are based on perfect fifths in new standard tuning than in standard tuning. New standard tuning was invented by Robert Fripp, a guitarist for King Crimson. Preferring to base chords on perfect intervals—especially octaves, fifths, and fourths—Fripp often avoids minor thirds and especially major thirds, which are sharp in equal temperament tuning (in comparison to thirds in just intonation). Alternative harmonies can also be generated by stacking second intervals (major or minor).