kaise tumhe bhula du
ya khudi ko mita du
meri zindagi ki
hai jo zindgani
jiski zindagi se hai judi
ye kahani
wo ho tum, wo ho tum, wo ho tum

Mastering chords gives you the license to play your guitar alongside a singer. Some beginners think that playing guitar only means being able to play a tune of their favorite songs. That is just one side of the coin… er… guitar. Chords, as the definition will tell you, is a combination of three or more notes played together. So, instead of just plucking a particular string, you would strum multiple strings.

Without further ado, let me get straight into the basic open chords.
Remember while practicing, strum the chords and then play each note individually still holding your left hand to ensure every note is sounding right.
Easy Major Chords
D Major Chord

The D major is a very easy chord to play. Just ensure that you don’t strum the 5th and 6th string. That would sound real bad. A little bit of practice and it would become second nature to leave those strings.

If you want your chords to sound good, always remember which strings have to be hit and which have to be left.
E Major Chord

I don’t think you would find a more easy chord to play except maybe its minor version. In this chord you don’t have to worry about any string to leave as all the strings need to be strummed.
A Major Chord

This chord can take you some time to get comfortable with. The fingers get crammed thereby making it difficult. Though it might seem tougher to play at first, it is quite easier than it seems. Our fingers are very dexterous and adjust quickly with practice. So, practice!

There is an alternative way of playing this chord by barring the three strings, but this is advanced way of doing it and if you are starting out with chords, I would suggest the previous way.
Easy Minor Chords
E Minor Chord

The easiest chord in the world of Guitar. Similar to E major with the first finger lifted.

Since the requirement is of pressing only two frets and we have four fingers at our disposal, you can choose any two fingers you are comfortable with. It usually depends upon the chord which follows next while playing any song.
A Minor Chord

Exactly like the E major chord but all moved downwards a string. Ensure you don’t hit the sixth string. Well, it won’t destroy the song if you did hit the sixth string, but I am just trying to make you Mr. Perfect!
D Minor Chord

Personally, during my small guitaring experience, I have used this way of playing the chord fewer times than others. But that’s just my style. There is an alternative barre chord which is more common. But it pays to know this as well, so practice it.
The beautiful and My Favorite G Major Chord!
G Major Chord

Yes, it is my favorite chord. Really don’t know why. Probably a result of some weird connection between ear and heart!

This chord brings an interesting stretch to your fingers. Again, the dexterity of your fingers will make it easy with practice. This is a very important chord to learn as it opens up lots of good songs for you. So practice it hard and make sure you play each note individually as well.

Some people do not play the note on the 2nd string. Your wish… for me, it makes the chord sound fuller with that note than without.
The Most Popular C Major Chord
C Major Chord

Seems to creep in every other song that I play! You have got to master this. And it’s easy too.

A few important things to note about this chord. The sixth string should not be played for the chord to sound correct. You can use the third finger to mute the sixth string by lightly touching it with the tip. Also, ensure that the first finger doesn’t touch the third string even slightly else it won’t sound properly.
The Fearsome F Major Chord
F Major Chord

A nightmare for every beginner! No use fearing it… go straight at it!

The tough part here is holding both the first and second string frets with your first finger. In other words, you have to bar the frets. It is a precursor to the barre chords which will come later. I prefer the barre version of this chord but it is recommended to start learning with this one.

Keep your arms relaxed while practicing this chord, a stiff arm hinders practice along with more pain (which we wrongly attribute to practicing guitar!

Ok, so above are all the basic Open Chords which you must know to call yourself a beginner guitarist. Notice that the major chords exhibit happiness whereas the minor chords sounds melancholic. Can you feel it?

dil aa gaya dil
tera us rand me

gand jo dekhi chikni keeda machal gaya
na aaw dekha na taaw wo usme ghus gaya
mili use jannat jaise swarg pahuch gaya
zindagi ke sare maze wo cash kar gaya!!

keeda ghusa
keeda ghusa
gaand me!

jo hai zindagi itni bekhabar
sari duayein huyi jo beasar
ab mere mann ko yu behlao na

kuch to kaho na
paas aao na
dil ki dhadkane
sunte jaao na

Start out learning simple tunes, such as nursery rhymes. A simple rule to follow is this; before you play it, make sure you can hum it. A painter first visualizes the painting in his mind before he/she begins to paint it, and for a musician it isn’t any different. Play the song to yourself in your mind, then apply it to your fretboard. Find the first note and keep going down the scale until you find the second and so on. Lets start with a simple song; The Star Spangled Banner:

E||——————|——————|——————||
B||——————|———–5—-3-|——————||
G||——————|——5———–|–5—————||
D||–5—2———2-|–5—————|——2—-4—-5-||
A||———–3——|——————|——————||
E||——————|——————|——————||

Here are some other things to consider. Some of these may seem obvious, but some may not.

* Listen for open strings. Especially open E and A, and even open D. Open strings ring out more, and can provide a good reference point for learning the song. Keep in mind that the E and A strings may be tuned down a half or even a whole step.

* When figuring out solos, use a basic Pentatonic scale pattern at the root note. Try to figure out if there using minor or major scales. Minor scales will have a darker feel to them, major scales more of a happier feel. This will help you in figuring out patterns.

* It may help you to start learning the melody first, then build the chords later. Building chords will come easier in time. Remember to listen to any “ringing”, which indicate open strings.

* Listen for pull offs in the A position, also palm muting on the open E string. These are commonly used and provide good reference points.

* Use a cassette when figuring out songs so you can stop and play easier.

That’s all I can think of for now. Hope this helps. Keep in mind you don’t have to figure out a song exactly as you hear it. Your version of the song is an interpretation of that song by you, with your own unique “fingerprint”. Id rather listen to a player with a bad ear and a lot of feeling, that one with a great ear who plays like a robot. Just my opinion.

Getting in Position

Center the palm of your picking hand over the sound hole (acoustic) or pick-ups (electric) of the guitar. Curl your fingers and thumb at your second knuckle, and turn your hand so that your fingertips rest underneath the strings (so your second knuckles point towards the floor). Your hand should be in a loose claw-shape. Since we will start by playing a D major chord, we’re only interested in the bottom four strings. Poise your thumb on the upper side of the fourth string. Your first finger will rest underneath the third string. Your second finger will rest underneath the second string. And your third finger will rest underneath the first string. Let your fingers settle in this position – try to make them feel as comfortable as possible.

In your fretting hand, form a D major chord. Now, using a downward motion with the inside edge of your thumb, play the open note on the fourth string. Your thumb should not move far, and after you play the note, return it to it’s original position. Do this several times, until the motion feels comfortable and natural. Then, play the third string, using an upward motion with the tip of your first finger. Again, there should be minimal movement by the finger, and you should return it to it’s original position after playing the note. Examine the motion closely as you do it, and repeat it until it feels natural. Then, repeat this process with your second finger on the second string, and finally with your third finger on the first string. Your fingers should always remain curled, and the motion should come primarily from the second knuckle down.
Now, try playing the strings once each, in order, from fourth to first. Be sure to use the correct fingers in your picking hand, and watch to make sure your technique looks good.

Changing Chords

The general concept of simple fingerpicking is this – the thumb moves to play the bass strings when the chord changes, while the three remaining fingers remain stationary – always responsible for playing the same string. We will utilize this concept as we play the following example:

First of all – the fretting hand. All that changes from the D major to the C69 (pronounced “C six nine”) chord is the second finger moves from the second fret of the first string, to the third fret of the fifth string.
Similarly, only one thing changes in the picking hand as well – the thumb will move to play the fifth string, instead of the fourth. So, the pattern we’ll play for the above example is strings 4,3,2,1 four times on Dmajor, moving to strings 5,3,2,1 four times on C69.
In future lessons, we’ll tackle a few harder picking patterns that will not include all strings being played in order. For now, work hard on making the above feel comfortable.

Things to know:

* Make sure your picking hand fingers are curled at the second knuckle. Never let your fingers straighten out.
* Your palm should move very little in the fingerpicking process. All movement should be done with fingers.
* Your fingers should move back into position as soon as they’ve picked the appropriate note.
* If strings are ringing very quietly, it means you aren’t picking hard enough.
* Some guitarists choose to anchor their pinky finger on the bridge of the guitar, while using the other fingers to pick the strings. Many other do not – my suggestion: experiment with both methods.

Asus4 Chord
This is a chord which you can fret several ways, depending on which chord you’re coming from/moving to. If you are planning to follow this chord with an Aminor, you can fret the Aminor chord, then add your fourth (pinky) finger to the third fret of the second string. Or, if coming from/going to an Amajor chord, you can fret the notes on the fourth and third strings with your first finger, while playing the second string note with your second finger. Lastly, you could try playing the fourth string with your first finger, third string with your second, and second string with your third.

Practice:

* Amaj to Asus4 to Amaj
* Dmaj to Asus4 to Dmaj
* Amin to Asus4 to Amin

You Should Know:

* Sus4 chords are also commonly referred to as simply “sus” or “suspended” chords.
* Sus4 chords tend to feel “unresolved” if left hanging – you probably wouldn’t want to end a song on a sus4 chord.
* Many guitarists insert sus4 chords into music with simple major and minor chords, to spice up a guitar part.

Natural Minor scale: 1 2 ♭3 4 5 ♭6 ♭7 8.

One may therefore remember the steps in the natural minor scale – “W,H,W,W,H,W,W,” (in semitones – 2 1 2 2 1 2 2) – as just the familiar major scale steps with a different starting point. C major is C D E F G A B C; the A natural minor scale is A B C D E F G A. If the scale is used with the correct corresponding key signature, the natural minor scale needs no accidentals.

The natural minor scale is the same as the Aeolian mode, but music in the minor scale in the common practice period of Western music usually uses a leading tone a semitone below the tonic: the chord built on the dominant (fifth scale degree) is almost always a major triad, at least at cadence points; consequently the seventh degree of the scale must be raised with an accidental. Hence music using the “natural” seventh degree, called the subtonic, sounds ancient, folkloric or modal to Western ears.

Harmonic and melodic minor

The above considerations of chordal harmony led to the harmonic minor scale, the same as the natural minor but with a chromatically raised seventh degree.

Harmonic Minor Scale: 1 2 ♭3 4 5 ♭6 7 8

For example, in the key of A minor, the harmonic minor scale is:

A B C D E F G♯ A’

The harmonic minor is also occasionally referred to as the Mohammedan scale[1] as its upper tetrachord resembles a common Arabic maqam.

The interval between the sixth and seventh degrees of this scale (in this case F and G♯) is a minor third/augmented second. While some composers, notably Mozart, have used this interval to advantage in melodic composition, other composers, having felt it to be an awkward leap, particularly in vocal music, considered a whole step between these two scale degrees more conducive to smooth melody writing, so either the subtonic seventh was used or the sixth scale degree raised. Traditionally, music theorists have called these two options the ascending melodic (also known as heptatonia seconda) and descending melodic minor scales, the ascending being identical in its upper tetrachord to the major scale, and the descending being simply the natural minor:

A B C D E F♯ G♯ A’ and then

A’ G F E D C B A respectively.

Composers have not been consistent in using these in ascending and descending melodies. Just as often, composers choose one form or the other based on whether one of the two notes is part of the most recent chord (the prevailing harmony). Particularly, to use the triad of the relative major – which is very common – since this is based on the third degree of the minor scale, the raised seventh degree would cause an augmented triad; composers thus frequently require the lowered seventh degree, that which is found in the natural minor.

Key Sig. Major Scale Minor Scale
5♯/7♭ B/C♭ major g♯/a♭ minor
6♯/6♭ F♯/G♭ major d♯/e♭ minor
7♯/5♭ C♯/D♭ major a♯/b♭ minor

Double sharps/double flats can be written as accidentals, but not as part of a key signature. For example:

D♭ Minor Key Signature: B♭ + E♭ + A♭ + D♭ + G♭ + C♭ + F♭ + Bdouble flat (the B♭ is now double flatted)

D♭ Natural Minor = D♭ E♭ F♭ G♭ A♭ Bdouble flat C♭ D♭

D♭ Melodic Minor (Ascending + Descending) = D♭ E♭ F♭ G♭ A♭ B♭ C D♭ C♭ Bdouble flat A♭ G♭ F♭ E♭ D♭

D♭ Harmonic Minor = D♭ E♭ F♭ G♭ A♭ Bdouble flat C D♭

Key Sig. Major Scale Minor Scale
5♯/7♭ B/C♭ major g♯/a♭ minor
6♯/6♭ F♯/G♭ major d♯/e♭ minor
7♯/5♭ C♯/D♭ major a♯/b♭ minor

Double sharps/double flats can be written as accidentals, but not as part of a key signature. For example:

D♭ Minor Key Signature: B♭ + E♭ + A♭ + D♭ + G♭ + C♭ + F♭ + Bdouble flat (the B♭ is now double flatted)

D♭ Natural Minor = D♭ E♭ F♭ G♭ A♭ Bdouble flat C♭ D♭

D♭ Melodic Minor (Ascending + Descending) = D♭ E♭ F♭ G♭ A♭ B♭ C D♭ C♭ Bdouble flat A♭ G♭ F♭ E♭ D♭

D♭ Harmonic Minor = D♭ E♭ F♭ G♭ A♭ Bdouble flat C D♭

Structure
Pattern of whole and half steps

A major scale may be seen as two identical tetrachords separated by a whole tone, or whole step, the new set of steps “Whole:Whole:Half:Whole:Whole:Whole:Half”(in Semi-tone 2 2 1 2 2 2 1). Each tetrachord consists of two whole steps followed by a half step. Western scales do not skip any line or space on the staff, and they do not repeat any note with a different accidental. This has the effect of forcing the key signature to feature just sharps or just flats.

Named scale degrees

* 1st – Tonic- key note
* 2nd – Supertonic
* 3rd – Mediant
* 4th – Subdominant
* 5th – Dominant
* 6th – Submediant
* 7th – Leading Tone (or Leading Note)
* 8th – Tonic ( or Octave)

Scales with sharp key signatures

Sharp key signatures consist of a number of sharps between one and seven, applied in this order: F C G D A E B. The key note or tonic is immediately above the last sharp in the signature. For example, one sharp (F♯) in the key signature of a piece in a major key indicates the key of G major, the next note above F♯. (Six sharps, the last one being E♯ (an enharmonic spelling of F♮) indicate the key of F♯ major, since F has already been sharped in the key signature.)

C maj – 0 sharps
G maj – 1 sharp – F♯
D maj – 2 sharps – F♯, C♯
A maj – 3 sharps – F♯, C♯, G♯
E maj – 4 sharps – F♯, C♯, G♯, D♯
B maj – 5 sharps – F♯, C♯, G♯, D♯, A♯
F♯ maj – 6 sharps – F♯, C♯, G♯, D♯, A♯, E♯
C♯ maj – 7 sharps – F♯, C♯, G♯, D♯, A♯, E♯, B♯

This table shows that each scale starting on the fifth scale degree of the previous scale has one new sharp, added in the order given above.

Scales with flat key signatures

Flat key signatures consist of one to seven flats, applied as: B E A D G C F (same as the order of sharps, but reversed.) The major scale with one flat is F major. In all other flat major scales, the tonic or key note is indicated by the second to last flat. In the major key with four flats, for example, the penultimate flat is A♭, indicating a key of A♭ major.

C maj – 0 flats
F maj – 1 flat – B♭
B♭ maj – 2 flats – B♭, E♭
E♭ maj – 3 flats – B♭, E♭, A♭
A♭ maj – 4 flats – B♭, E♭, A♭, D♭
D♭ maj – 5 flats – B♭, E♭, A♭, D♭, G♭
G♭ maj – 6 flats – B♭, E♭, A♭, D♭, G♭, C♭
C♭ maj – 7 flats – B♭, E♭, A♭, D♭, G♭, C♭, F♭

In this case each new scale starts a fifth below (or a fourth above) the previous one.

The circle of fifths

The circle of fifths provides a useful way of seeing the relationship of the major keys:

The numbers inside the circle show the number of sharps or flats in the key signature, with the sharp keys going clockwise, and the flat keys counterclockwise from C major (which has no sharps or flats.) Six sharps or flats make the enharmonically identical keys of F♯ or G ♭. Seven sharps or flats make major keys (C♯ major and C♭ major) that may be more conveniently spelled with five flats or sharps (as D♭ major or B major).

The major scale may predominate the minor scale in Western music because of its unique harmonic properties; in particular the major third is much stronger in the harmonic series (it is the 5th, 10th and 20th harmonic – see below) than the minor third (the 19th harmonic).

In other words, the first six notes of the harmonic series provide a consonant major chord, the fourth to sixth of which form a major triad, and seven of the nine notes between the 8th and 16th harmonics (the 7th and 15th overtones) are notes in the major scale in just intonation.

The major scale allows:

* three-part major or minor chords, both stable and consonant, on every scale degree but the seventh
* a diminished fifth within the seventh chord built on the fifth degree, the dominant
* motion by a minor second from the leading tone to the tonic
* root motion by perfect fifths, the strongest root motion, from nearly every degree in either direction, the two exceptions being up a perfect fifth from the seventh degree, and down a perfect fifth from the fourth degree

E||–0—||
B||–1—||
G||–2—||
D||–2—||
A||–0—||
E||–x—||

While holding the chord, the first 5 notes should be played with a downstroke in a long downward sweep. Then play the last 4 notes with an upstroke, in an upward sweep. I labeled each with a ^ (downstroke) or a v (upstroke)

E||———————–0————————||
B||—————–1———-1——————-||
G||————2——————–2————–||
D||——-2——————————2———||
A||–0—————————————–0—||
E||————————————————||
|–^—-^—-^—-^—–^—-v—-v—-v—–v—|

Now, lets play a 2 chord arpeggio using an Am and C.

E||——————-|-0—————–|——————|
B||—————-1–|——1————|—————-1-|
G||———–2——-|———–2——-|———–0——|
D||——2————|—————-2–|——2———–|
A||-0—————–|——————-|-3—————-|
E||——————-|——————-|——————|
|-^—-^—-^—–^—^—-v—-v—-v—–v—^—-^—-^-|

–0——————-|——-||
——-1————–|——-||
————0———|——-||
—————–2—-|——-||
———————-|–3—-||
———————-|——-||
–^—-v—-v—-v——-v—-|

If this sounds familiar, it is the beginning of the famous Animals song “House of the Rising Sun” The song uses some easy arpeggios. If you are playing in a cover band, or want to, its probably a good idea to note that this is regarded as the most widely requested song of them all.

In the Chord Construction lesson, we learned that a chord is made up of at least 3 notes which are determined by musical rules. One of the chords we built was a D minor. The D minor chord consists of the following 3 notes- D,F,A. Now, lets play an D minor Arpeggio on the fretboard.

E||———————–13—17—13———————-||
B||—————–15——————-15—————–||
G||———–14——————————-14———–||
D||—–15——————————————15——||
A||-17—————————————————17-||
E||———————————————————||
|–^—^—–^—–^—-^—–v—^—-v—–v—-v—–v-|

Try playing some arpeggios using various chords. It is important to use downstrokes and upstrokes properly to get the right effect.

While practicing these, play the note, mute it, then play the next note. Did I mention these are played really fast? If you start out slow, don’t worry. Its actually pretty easy once you get the technique down.