Guitar Chords Flashcards

24 sample cards from the Chords deck

Sampled from the end of the deck, so these are different cards from the ones shown on the syllabus page.

1. In one-minute changes practice, what score is commonly used as the benchmark that a chord pair is mastered, and what matters more than raw speed?

   Around 60 changes per minute (one per second) is the common mastery benchmark. Clean, accurate changes matter more than speed — sloppy changes should not be counted.

2. What is the difference between a half-barre and a full barre?

   A half-barre flattens the index finger across only some strings (typically the top 2–4, as in the four-string F on the 1st fret); a full barre presses the index across all six strings, as in the full F major barre chord.

3. What are the key technique points for a clean full barre?

   Use the bonier outer edge of the index finger (rolled slightly toward the nut), place it right behind the fret, position the thumb behind the neck roughly opposite the barre, keep the elbow tucked in, and use arm weight rather than pure grip strength.

4. How is an E-shape barre chord constructed, and what chord does it give at the 1st fret?

   Barre the index finger across all six strings and form an open-E-major shape with the remaining fingers. At the 1st fret this produces F major; the root is on the 6th string under the barre.

5. What major chords does the E-shape barre give at the 3rd and 5th frets?

   3rd fret: G major (6th-string 3rd-fret note is G). 5th fret: A major. The chord is always named after the 6th-string note under the barre.

6. How do you convert an E-shape major barre chord into its minor version?

   Lift the finger that frets the 3rd (G) string — the same finger removed when changing open E to Em — leaving the barre to fret that string. Example: 5th-fret Em-shape barre = A minor.

7. How is an A-shape barre chord constructed, and what chord does it give at the 2nd fret?

   Barre the index across the top five strings (root on the 5th string) and form an open-A-major shape above it. At the 2nd fret this produces B major; at the 3rd fret, C major.

8. What is the common alternate fingering for the A-shape major barre chord, and what is its trade-off?

   Barre the D, G, and B strings with the ring finger two frets above the index barre. It is faster and easier than three separate fingers, but the ring finger tends to mute the high E string, which is usually acceptable.

9. What are the note landmarks on the low E (6th) string at frets 1, 3, 5, 7, 8, 10, and 12?

   Fret 1 = F, 3 = G, 5 = A, 7 = B, 8 = C, 10 = D, 12 = E (octave). These locate roots for E-shape barre chords and 6th-string power chords.

10. What are the note landmarks on the A (5th) string at frets 2, 3, 5, 7, 8, 10, and 12?

    Fret 2 = B, 3 = C, 5 = D, 7 = E, 8 = F, 10 = G, 12 = A (octave). These locate roots for A-shape barre chords and 5th-string power chords.

11. When you slide any fixed chord shape up the neck, how does the pitch change per fret?

    Each fret raises every note by one semitone (half step); moving up 12 frets raises the chord exactly one octave, returning to the same chord name.

12. An E-shape barre and an A-shape barre are both played at the 3rd fret. What chords result, and what does this show?

    E-shape at fret 3 = G major; A-shape at fret 3 = C major. It shows the same fret gives different chords depending on which string carries the root, letting you find any chord in multiple neck positions.

13. What is the recommended approach to building barre-chord strength and endurance?

    Practice in short, frequent bursts (e.g., hold and re-press the barre for a few clean strums, rest, repeat), stop at pain rather than pushing through, and let strength build over days and weeks — consistency beats marathon sessions.

14. Why is it easier to first learn barre chords around the 5th–7th frets rather than at the 1st fret?

    Away from the nut the string action is lower and the string tension feels slacker, so less pressure is needed; frets are also closer together, reducing the stretch. Once clean there, move the shape toward the 1st fret.

15. What is the interval formula of a power chord, and why is it neither major nor minor?

    Root and perfect fifth only: $1\text{–}5$. Because it contains no third — the note that defines major or minor quality — it is harmonically ambiguous and fits over both major and minor contexts.

16. How does a three-note power chord differ from a two-note power chord?

    The three-note version adds the octave of the root above the fifth ($1\text{–}5\text{–}8$), giving a thicker, fuller sound; the two-note version is just root and fifth.

17. How are power chords written in chord notation?

    With the root name followed by '5' — e.g., A5, G5, C5 — indicating a root-and-fifth chord with no third.

18. Describe the standard fingering for a 6th-string-root power chord.

    Index finger on the root (6th string), ring finger two frets higher on the 5th string (the fifth), and optionally the pinky at the same fret as the ring finger on the 4th string (the octave). Unused higher strings are muted.

19. What makes power chords and barre chords 'movable root shapes'?

    They contain no open strings, so the whole shape can slide to any fret without changing its fingering; the chord is renamed by whatever note the root finger lands on. One shape therefore covers all 12 keys.

20. How do you execute palm muting?

    Rest the fleshy edge of the picking-hand palm lightly on the strings right at the bridge while picking. Closer to the bridge gives a tighter, more percussive chug; too far forward kills the pitch entirely.

21. How is palm muting indicated in notation, and why is it paired with power chords in rock riffs?

    It is marked 'P.M.' with a dashed line under the affected notes. Paired with power chords (especially with distortion) it produces the tight, chunky, percussive rhythm sound central to rock, punk, and metal, and controls unwanted string ringing.

22. What are the interval formulas for sus2 and sus4 chords?

    Sus2: $1\text{–}2\text{–}5$ (third replaced by the major second). Sus4: $1\text{–}4\text{–}5$ (third replaced by the perfect fourth). Both remove the third, so they are neither major nor minor.

23. Why are sus chords called 'suspended,' and how are they typically resolved?

    The replaced third leaves the chord unresolved — 'suspended' in tension. The 4th (or 2nd) typically resolves back to the third, as in the classic embellishment D → Dsus4 → D → Dsus2 → D, played by adding the pinky (sus4) or lifting a finger (sus2) around the open D shape.

24. What is the difference between an add9 chord and a dominant 9th chord?

    Add9 is a plain triad plus the ninth with no seventh: $1\text{–}3\text{–}5\text{–}9$ (e.g., open Cadd9 = x32033). A dominant 9th also includes the flat seventh: $1\text{–}3\text{–}5\text{–}\flat 7\text{–}9$ (e.g., C9). If the $\flat 7$ is absent, the chord is 'add9,' not '9.'

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