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There are few keys in which one may play the progression with open chords on the guitar, so it is often portrayed with barre chords ("Lay Lady Lay"). The use of the flattened seventh may lend this progression a bluesy feel or sound, and the whole tone descent may be reminiscent of the ninth and tenth chords of the twelve bar blues (V–IV).
Slash notation in 4/4 with a slash on each beat under a i7 iv7-V7 chord progression in B ♭ minor. Slash notation is a form of purposefully vague musical notation which indicates or requires that an accompaniment player or players improvise their own rhythm pattern or comp according to the chord symbol given above the staff. On the staff a ...
Consequently, three hand positions (covering frets 1–4, 5–8, and 9–12) partition the fingerboard of classical guitar, [89] which has exactly 12 frets. [k] 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.
These chords stand in the same relationship to one another (in the relative minor key) as do the three major chords, so that they may be viewed as the first (i), fourth (iv) and fifth (v) degrees of the relative minor key. For example, the relative minor of C major is A minor, and in the key of A minor, the i, iv and v chords are A minor, D ...
4 is mostly used as an extra note in a chord (e.g., add4, sus4). 5 is the (perfect) fifth of the chord and is only written as a number when altered (e.g., F7 (♭ 5)). In guitar music, like rock, a "5" indicates a power chord, which consists of only the root and fifth, possibly with the root doubled an octave higher. 6 indicates a sixth chord.
The guitar in reggae usually plays the chords on beats two and four, a musical figure known as skank or the 'bang'. It has a very dampened, short and scratchy chop sound, almost like a percussion instrument. Sometimes a double chop is used when the guitar still plays the off beats, but also plays the following 16th or 8th beat on the up-stroke.
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A common voicing is the 1–5 perfect fifth (A), to which the octave can be added, 1-5-1 (B). A perfect fourth 5-1 (C) is also a power chord, as it implies the "missing" lower 1 pitch. Either or both of the pitches may be doubled an octave above or below (D is 5-1-5-1), which leads to another common variation, 5-1-5 (not shown).
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