Guitar Chords in G Major
This is our second chord scale [first: C Major]. All of the chords you find on this page are found within the first position scale. Get these chords in the hands. We have options for which G fingering to use [2-1-3, 3-2-4, 2-1-3-4].
Diatonic Guitar Chords in G Major
These are all triads, save the D7. The diminished chord is included [is inside the V7]. For chord scale strumming, try both [first time, D7, 2nd time F#o].
Numbers in brackets are optional tones. Also, some of these chords are technically slash chords. Slash chords have a different tone in the bass than the root. In this set, if C has the 3 fret on the 6 string, the chord is called C/G [and will often actually be called this]. For D, the bass tone shown is an A, yet we rarely see it written as a D/A [yet, we typically let this open string ring for D]. The F#o also has an A ringing in the bass, yet we rarely see F#o/A in popular music [or even F#o for that matter].
Numbers in the dots are suggested fingerings. Empty strings are muted or not played [most likely muted!].
The little 1 on the first string in B minor’s shape is an optional fretted tone. We would bar with the one finger to make this happen. Yet, the inside four strings are dense enough in sound to be Bm. This tone can also be a changing tone [toggled on and off using a hinge bar – the toggle would be fretted, then the open string]. The Bm shape is similar to an A minor chord (A form moved up 2 frets – with a flat 3rd) – check it. When fretting this chord [at the start], try fretting the first finger, then add the 2, then the 3 & 4 [layering].
Strum Chord Scale
Our goal is to strum it ascending [and descending], with no strumming breaks. Or, fingerpick it. And definitely memorize it.
Also, figure out what else can be added/toggled based on what you hear and fingerings. Help free fingers find tones (change fingers even in common chords to get new options). Experimenting in this way will most likely lead to the discovery of sounds from songs you know. We are all commonly working with the same materials.
We are using Roman Numerals to represent the chords in a key. We will see this again, moving forward. As mentioned in the C Major chord lesson, the I IV V are Major, the ii iii vi are minor, and the viio is diminished. And, we can use a V7 in place of the diminished, just due to common usage [the diminished triad is inside the Dominant 7 – it’s the 3-5-♭7 of the R-3-5-♭7].
This scheme – this chain of qualities – I ii iii IV V vi viio is consistent for all Major keys. We can deduce the chords in any Major key based on 1. knowing this chain of qualities & 2. what tones are in a key.