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In this set of chords, we will move the C#m shape to the D#m (fret 6), & the F# shape to the G#m (fret 4 - but with a flat 3rd - on the 3rd string).
The A#o is the same shape & fingering as the Bo (B diminished) in the key of C. There are 5 sharps in the key of B.
F#7 is the V7 (the Dominant 7) for the key of B. For this chord, to play all of the tones, we can press the bar over the span of all of the strings.
It is possible to have 2 'mini-bars' within the one fret space (fret system). The upper knuckle (flattened out) of the index can play the lower 3 strings (even though 5 string isn't needed), & at the same time, press with the middle knuckle to press the 2 & 1. Experiment.
When we play a bar chord like this, we may constantly press & touch (touch is a mute - a chuk). This rests the hand while creating a rhythmic effect. Holding a bar chord for a long time can start to hurt. Be economical with your barring. Use minimum pressure, be smart with your angles, & take breaks.
These guitar chords in B aren't the easiest in the arsenal, yet are necessary to know. The fingerings on this page, the I, ii, iii, & viio chords are based on the A Major chord form & the IV, V, and vi are based on the E chord form.
It is a common question: How do I play a B chord? This lesson answers this question.
First, if you are looking for B7, here it is.
We have a lot of options for playing B. We'll first explore the cycle of chord forms for the tone B. In the Bm section, you'll see one tone different from the Major cycle (the flat 3rd), & in the Fragments section, we'll use the E (7th fret) & A (2nd fret) forms based on B to create smaller fragments.
As we've discussed in CAGED lessons on the site, each of the 12 tones has a chord form 'heel' (as in a loaf of bread). For the chord B, the A form is the first full form to appear (when considering the nut as a starting point). Yet, keep in mind that the B (& the F & F# based on E Form) have chord forms that 'sneak in' behind the first full form. And, those forms that do appear (fall behind the first full form) are Dominant 7 type chords. To make this clear, consider that if you finger C7 in first position, then shift it back a fret, you have B7 (Dominant 7 type chord). And, the same goes for B-Flat (shifting back one more, but you have to mute the 2 string, or include an extended tone).
With that technicality out of the way, let's consider the A form as the heel for the B chord (Major). So, our first fingering of B is based on the A form.
The above version of B isn't always such a comfortable fingering, so we'll simplify it to a bar chord (where the 3 or 4 finger is doing the barring).
The CAGED system supplies a solid framework for all of the ways to play the B chord. The entire CAGED cycle for B looks like this:
There are preferential fingerings for each of these forms (as in the fingering simplication for the A form above).
First, if you are looking for Bm7 (Bminor7), here it is.
These maps are different from the B major maps in that one tone (the 3rd of Major), has been lowered to create minor type chords (flat-3rd).
We have a lot of options for playing Bm. We'll first explore the cycle of chord forms for the Bm chord. In the B Major section, you saw one tone different from this minor cycle (the normal 3rd), & in the Fragments section, we'll use the E (7th fret) & A (2nd fret) forms based on B tone to create smaller fragments.
Bminor is a necessary chord to know. It typically appears first in a guitarist's playing life as the iii chord of G Major, then typically as the vi chord of D Major.
The above version of Bm isn't always such a comfortable fingering, so we'll simplify it to a non-bar chord.
The CAGED system supplies a solid framework for all of the ways to play the Bm chord. The entire CAGED cycle for Bm (B Major with a lowered 3rd) looks like this:
There are preferential fingerings for each of these forms (as in the fingering simplication for the A form above). Double dot below is marked as the root.
For this section, we will focus on the E & A Form fragments for the B chord & B minor. These aren't the only fragments from these chords, yet some of the most common. You have options for fingerings. We have intentionally left fingerings out, so you can figure them out. We all have preferences. One of the goals with chords is to find chord voicings that work for you. Take note that the R-5 (Root-5 or 'power chords) are the same for Major & minor. R5 chords are Major-minor neutral & can be used in place of Major or minor chords where necessary or appropriate.
