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Rhythm Guitar Reference
This section contains useful information for rhythm guitar playing, including:
• How to Read a Chord Diagram (p. 1)
• Open Chord Diagrams (p. 2)
• Moveable Chord Diagrams (Barre and Jazz/Blues Chords) (p. 3-7)
• Notes on the Fretboard (p. 8)
• Accompaniment Patterns (p. 8-14)

How to Read a Chord Diagram

• A chord diagram is shown as if you were looking straight at the front of

the guitar with the body set on the floor.
• The vertical line on the left represents the 6th string (biggest).
• The vertical line on the right represents the 1st string (smallest).
• The top horizontal line is represents the nut (end of the fretboard).
• The other horizontal lines represent frets.

Chord Name} D
“X” means don’t play that string.} xx {“O” indicates an open string. Play that string open,
` without placing a finger on a fret.
5 5 5 {Dots show where to place your fingers.
1 2
3
Numbers show which fingers to play with.
1 = index finger
6th string P : 2 = middle finger
(biggest) 1st string 3 = ring finger
(smallest) 4 = pinky
T = thumb

Tips for Learning Chords

• Play on the fingertips and keep each finger curved to avoid touching other strings.
• For the best tone quality, place each finger close to the fret, but not on top of the fret.
• Pluck one string at a time to check that each string is ringing clearly.
• Play chords slowly at first for accuracy. Your speed will increase over time.
• When playing from one chord to the next, look for similarities between chords. Sometimes two
chords will have a similar shape, they may share a common finger, or one finger may only have to
move a little bit.

Copyright © 2019 Tom Godfrey

2 Rhythm Guitar Reference godfreyguitarlessons.com

Open Chord Diagrams

Any chord with one or more open string is an open chord. The F chord on this page is a Barre chord
(one finger holding down more than one string). It is included in this list because it is a commonly
played chord.
A A min A7 A maj7
x` x` x` ` ` x`
555
1 2 3
` 5`55 1 2
55 5` 55
1 1
2 1 3 { Alternate 2 3 2 3 { Alternate 2 3
Fingering Fingering

A min7 B7 C C7
x` ` ` x x ` ` x
5
5 5`555 5 5 `
2
1
2
1
3 4 55 2
1 5
55 2
1

3 3 4

C maj7 D D min D7
x ``` xx` xx` xx`
5 5
55 2
55 5
1 2
55
2
1 55
2
1
3
3 3 3

D maj7 D min7 E E min

xx` xx`
555 Play all with
55 5
`
555
`` ` 2 3 ```
55
same finger. 1 1 1
1 1 1 2 2 3 Alternate } 1 2
Fingering

E7 E maj7 E min7 F
` ` 5` ` ` 55` ` xx
5 5
` ````
5 5 55
2
1
3
1 2
2 5 2
1 1

F maj7 G G7 G maj7
xx
5 5 `
5 5
``` ``` 5 ```
55 55 5
1
5 2
1
}
Alternate 5 2
3
3
2
1
2 1
3 Fingering 2 4 3 3

Power Chords

E5 A5 D5
` xxxx x` xxx xx` xx
5 5 5
1 1 1
godfreyguitarlessons.com Rhythm Guitar Reference 3
Moveable Chord Forms

Important! Only study the moveable chords after you have mastered the open chords on page two.
Moveable chords can be physically challenging at first, and you will have to learn the fretboard and
open chords thoroughly before these moveable chord forms make sense.
Moveable chords don’t have open strings, so you can play them anywhere on the fretboard. Moveable
chords include Barre chord shapes (where you hold down more than one string with one finger) and
non-Barre shapes (which include power chords and jazz chords).
To make use of moveable chords, you need to know three main things:
1) the chord shape
2) the root of the chord (the note upon which the chord is based)
3) the names of the notes on each fret, or at the very least, the notes up to the twelfth fret on strings
5 and 6.
For example, if you need to play a B major Barre chord with the root on the 6th string, you’ll need to
know the chord shape, the name of the root (B), and where that root note is on the 6th string (B is 7th
fret on 6th string).
On page 8, you’ll find a chart listing the notes on each string up to the 12th fret.

Moveable Power Chord Shapes

Power chord shapes are very easy to move around on the fretboard because they only have two notes.
Power chords are common in rock and are also sometimes used in blues.
6th String Root 5th String Root 4th String Root
xxxx x xxx xx xx
5 5 5
These power chords are built on the 4th,
5th, and 6th strings. Power chords are
generally more effective when built on the
5th and 6th strings.
1
5 1
5 1
5
3 3 3

CAGED System
You can use the CAGED system to convert open chords into moveable chords. The CAGED system is
built around the C, A, G, E, and D chord shapes and their variations (minor, 7th chords, etc.) In the
example below, you can see how the E shape can be turned into a moveable chord shape.
Shape moved up one
E Open E chord E fret. Place 1st finger
F
5 55 555 5 555
across all strings. At
Open E chord:
` `` refingered:
` `` the 1st fret, this is now

55
a full Barre F chord.
1 2 1 1 1
2 3 3 4 2
3 4

To change the E shape into a moveable shape:

1) Play the open E chord.
2) Adjust the fingering so that you are using fingers 2, 3, and 4, freeing up your 1st finger.
3) Move the entire chord shape up one fret, and use your 1st finger to Barre the first fret.
you move all of your fingers up one more fret, then you are playing an F # chord.
4) Now you have a moveable chord shape. You are playing a full Barre F chord at the first fret. If

The moveable chords in this guide mostly come from the CAGED system. This is not a complete list of
moveable chord shapes, but after you understand the system and pair that knowledge with the names of
the notes on the fretboard, you will be able to play most chords without having to look them up.
4 Rhythm Guitar Reference godfreyguitarlessons.com

Barre Chord and Jazz Chord Shapes

Minor 7th, Minor 7 b5, 7 #5, 7 b5, Major 6, Minor 6, Diminished 7, Augmented, 9th, Minor 9th, 7 #9, and
This list of moveable chord shapes is divided into different chord types: Major, Minor, 7th, Major 7th,
7 b9. You don’t have to learn them all right away! In addition to useful moveable chord shapes, you’ll
also be shown which CAGED System chord shapes they are based on and what string the root is on.
This list of chords is not complete. There are other chord types. The purpose here is to show you the
most practical shapes. For a more thorough list of moveable chords, check out Mini Music Guides –
Guitar Chord Dictionary (published by Alfred Music). For a deep dive into jazz chord forms, including
a guide at the end for building chords, check out the Rhythm Guitar Chord System (published by Mel
Bay).

Moveable Major Shapes

6th String Root 6th String Root 5th String Root 5th String Root
E Shape G Shape C Shape A Shape

5 555 555x x
5 5x x
5 5
1
55 2
1 1
55
1 1 1
55
1
2
1
555 1

3 4 3 3 3 3 3
4 4

Moveable Minor Shapes

6th String Root 5th String Root

E Minor Shape A Minor Shape
x
5 555 5 55
1
55 1 1 1 1
55 2
1

3 4 3 4

Moveable 7th Shapes

6th String Root 6th String Root 5th String Root 5th String Root
E7 Shape E7 Shape C7 Shape A7 Shape

5 5 555 5x 5 5 5 x x
5 x x
555
1
5 1
2
1 1 1 2
4
3
555 2
1 1
55 1 1

3 3 4 3 4

This is a jazz variation Mute the 1st string of a C7 to

of the previous form. convert it to a moveble shape.
godfreyguitarlessons.com Rhythm Guitar Reference 5

Moveable Major 7 Shapes

6th String Root 6th String Root 5th String Root 5th String Root
Emaj7 Shape Emaj7 Shape Cmaj7 Shape Amaj7 Shape

5 55 5 5 5x 55 5x x
55x x
555
1
5 2 3
1 1 1
3 4
2
55
1 1 1
55 2
1

4 3 3 4
4
This is a jazz variation Can also be played without
of the previous form. Barre by leaving out 1st string.

Moveable Minor 7 Shapes

6th String Root 6th String Root 5th String Root 5th String Root
Emin7 Shape Emin7 Shape C7 Shape w/Lowered 3rd* Amin7 Shape

5 5555 5x 555x x
5 5x x
5 555
1
5 1 1 1 1 2 3 3 3
55 1 1 1
5 1
2
1

3 3 4 3

This is a jazz variation *See Rhythm Guitar section of

of the previous form. Godfrey Guitar System for more
on raised/ lowered chord tones

Moveable Minor 7 b5 Shapes

6th String Root 1st String Root 5th String Root A useful shape.
Emin7 Shape w/Lowered 5th* C7 Shape w/Lowered 3rd Amin7 Shape w/Lowered 5th* 1st string Root.
and 5th in the Bass* 3rd in the Bass*
x x x x x
5 55 5 5
5 5 5 5 5 5 5x x x

2 3 4
1
2
1 1 1
2
3
4 5 5 55 1
4 2 3 4

*See Rhythm Guitar section of Godfrey Guitar System to learn more.

Moveable 7 #5 Moveable 7 b5

6th String Root 6th String Root

E7 Shape (jazz variation) E7 Shape (jazz variation)
with Raised 5th* with Lowered 5th*
x x x x
5 5 55 5 55 5
1
1 2 2 3
3 4 4

*See Rhythm Guitar section of

Godfrey Guitar System for more
on raised/ lowered chord tones
6 Rhythm Guitar Reference godfreyguitarlessons.com

Moveable Major 6 Shapes

6th String Root 6th String Root 5th String Root
Jazz E7 Shape E Shape C7 Shape
7th Lowered to 6th* 5th raised to 6th* 7th Lowered to 6th*
x x
5 x5 5 x
5 x

5 555 1
1
5 5 2
1
5 55
2 3
1

2 4 3 4 4
3
*See Rhythm Guitar section of
Godfrey Guitar System for more
on raised/ lowered chord tones

Moveable Minor 6 Shapes

6th String Root 5th String Root

Major 6 Shape Major 6 Shape
3rd Lowered* 3rd Lowered*
x x x
5 5 5x
5 5 55 1 5 1
2
1

2 3 4 3

*See Rhythm Guitar section of

Godfrey Guitar System for more
on raised/ lowered chord tones

Moveable Diminished 7 Shapes

Root, 3rd, 5th, and 7th

are all interchangeable*
x x x x x
5
5 5 5 5
55 5 5 5 5x
2
1
3
1
2
1
5 1
2
1

3 4 3

*See Rhythm Guitar section of Godfrey Guitar System to learn more.

Moveable Augmented Triad Shapes

Root, 3rd, and 5th

are interchangeable*

xxx x xx xx x
5 5 5 5
5 2
1
5 2
1
555 1 1
3 3 2

*See Rhythm Guitar section of Godfrey Guitar System to learn more.

godfreyguitarlessons.com Rhythm Guitar Reference 7

Moveable Dominant 9 Shapes

6th String Root 5th String Root
E7 Shape w/highest C7 Shape w/highest
root raised to a 9th* root raised to a 9th*
x x
5 555
5 51 1
2
1
5 5 55
1
3 4 2 3 4

*See Rhythm Guitar section of

Godfrey Guitar System for more
on raised/ lowered chord tones

Moveable Minor 9 Shapes

6th String Root 6th String Root 5th String Root
E Minor 7 Shape w/highest Jazz E Minor 7 Shape Minor 7 Shape
root raised to a 9th* 9th added on 1st String* Top Root Note Raised to 9th*

5 555 5x 555 x
5 x

5 5
1 1 1 1 2 3 3 3
5 5 551

3 4 4 2 3 4

*See Rhythm Guitar section of

Godfrey Guitar System for more
on raised/ lowered chord tones

Moveable 7 #9 Moveable 7 b9

5th String Root 5th String Root

9th Chord Shape 9th Chord Shape
9th Raised a Half Step* 9th Lowered a Half Step*
x x x x

55551 55551 1
2 3 2 3
4
*See Rhythm Guitar section of
Godfrey Guitar System for more
on raised/ lowered chord tones

The next page shows the notes up through the 12th fret. If you memorize these notes, particularly the
notes on the 5th and 6th strings, you’ll be able to pair that knowledge with moveable chord shapes and
play chords all over the neck.
8 Rhythm Guitar Reference godfreyguitarlessons.com

Notes on the Fretboard

The fretboard diagram below shows the notes on each string up through the 12th fret.
• The top line is the 1st string; the bottom line is the 6th string.
• The line on the left is the end of the guitar (the nut). The line to the right of the nut is the 1st fret.
• The last line on the right is the 12th fret.
• This chart shows only natural notes. To raise a note to a sharp ( #), play one fret to the right. To
• The open circles on the left list the open note names.
lower a note to a flat ( b), play one fret to the left. The Melody section of the Godfrey Guitar System
offers a more detailed explanation of sharps, flats, and naturals in chapter 6 (p. 103 for sharps and
naturals, and p. 107 for flats).

String Number: ➀ E

➁ B
➂ G
➃ D
➄ A
➅ E

Accompaniment Patterns

Starting on the next page, you’ll find several strumming and fingerpicking patterns, including:
• Strumming patterns in 4/4 (can be adapted to 2/4)
• Strumming patterns in 3/4 (can be adapted to 6/8)
• Fingerpicking patterns in 4/4 (can be adapted to 2/4)
• Fingerpicking patterns in 3/4 (can be adapted to 6/8)
You don’t have to learn all of these at once. It’s better to be able to play a few patterns well than
struggle with a lot of patterns. I suggest learning just a few and expanding from there. As you learn new
patterns, try them out on songs you’ve already learned. Experiment and come up with your own
variations.
These patterns are written out in standard notation. Rhythms are explained briefly on the next page. The
Melody section and Rhythm Guitar sections of the Godfrey Guitar System both teach how to read
rhythm.
godfreyguitarlessons.com Rhythm Guitar Reference 9

Reading Rhythms

Whole Note: Lasts 4 beats

w ∑ Whole Rest: 4 beats of silence

Dotted Half Note: Lasts 3 beats ˙. Ó. Dotted Half Rest: 3 beats of silence

Half Note: Lasts 2 beats

˙ Ó Half Rest: 2 beats of silence

Quarter Note: Lasts 1 beat

œ Œ Quarter Rest: 1 beat of silence

Dotted Quarter Note:

œ. Œ. Dotted Quarter Rest:
Lasts 1.5 beats 1.5 beats of silence

œ œ œ ‰
Eighth Note: Lasts 1/2 beat
J Eighth Rest: 1/2 beat of silence

Tie

w w
"

w w
A tie connects two or more notes to create one
longer note. Both of these ties connect two whole
notes together, creating one longer note that lasts
eight beats. A tie can curve up or down. :
Tie
10 Rhythm Guitar Reference godfreyguitarlessons.com

You will often see rhythmic notation in these patterns.

Strum quarter notes. Strum eighth notes.

Û Û Û Û ÛÛÛÛÛÛÛÛ

In these patterns, slash notation means An “X” note head means that you
that you strum quarter notes. In other strum the strings, but you mute them
music you might see, the slashes help to create a percussive effect instead of
you keep track of the beat, but you may a chord.
be free to play any pattern you want.

’ ’ ’ ’ ¿ ¿ ¿ ¿

This is a downstroke This is on upstroke A mixture of downstrokes

symbol. Pick downwards. symbol. Pick upwards. and upstrokes.
≥œ ≥œ ≥œ ≥œ œ≤ œ≤ œ≤ œ≤ ≥œ œ≤ ≥œ œ≤ ≥œ œ≤ ≥œ œ≤

For the sake of simplicity, an E minor chord is used to show these

patterns, but you should practice them on all the chords you know.

Strumming Patterns in 4/4. These can be adapted to 2/4.

1 Full Quarter Note Strum 2 Bass/Strum 3 Bass/Strum

E min E min E min
4 ≥Û ≥ ≥
Û Û
≥
Û 4 ≥ ≥ ≥ ≥ 4 ≥ ≥ ≥ ≥
4 4 ’ ’ ’ 4 ’ ’
œ œ œ
Bass/Strum w/8th Notes
4 Bass/Strum w/Alternating Bass 5 Bass/Strum w/8th Notes 6 + Alternating Bass

4 ≥ ≥ ≥ ≥ 4 ≥ ≥Û Û≤ ≥ ≥Û 4 ≥ ≥Û Û≤ ≥ ≥Û
E min E min E min
4 ’ ’ 4 4
œ œ
œ œ œ œ
7 Full Strum 8th Notes 8 Full Strum Quarters + 8ths 9 Common Folk Strum

4 ≥Û Û≤ ≥Û Û≤ ≥Û Û≤ ≥Û Û≤ 4 ≥Û ≥Û Û≤ ≥Û Û≤ ≥Û 4 ≥Û ≥Û Û≤ Û Û≤ ≥Û
E min E min E min
4 4 4
godfreyguitarlessons.com Rhythm Guitar Reference 11

10 Bass + Common Folk Strum 11 Bass + 8th Strum 12 8ths + Muted Percussive Effect
E min E min E min
4 ≥ ≥Û Û≤ Û Û≤ ≥Û 4 ≥ ≥Û Û≤ ≥Û Û≤ ≥Û 4 ≥Û Û≤ ≥¿ Û≤ ≥Û Û≤ ≥¿ Û≤
4 4 4
œ œ
Bo Diddley + Scratch Fills
13 Bo Diddley Rhythm 14 (Easiest to play with moveable chords)
E min E min
4 ≥Û ‰ ‰ ≥Û Œ ≥Û ‰ Œ ≥Û ≥Û Œ 4 ≥Û ¿≤ ≥¿ Û≤ ≥¿ ¿≤ ≥Û ¿≤ ≥¿ ¿≤ ≥Û ¿≤ ≥Û ¿≤ ≥¿ ¿≤
4 4
J J J

Strumming Patterns in 3/4. These can be adapted to 6/8.

15 Full Quarter Note Strum 16 Bass/Strum 17 Bass/Strum w/Alternating Bass

3 ≥Û ≥Û ≥Û 3 ≥ ≥ ≥ 3 ≥ ≥ ≥ ≥ ≥ ≥
E min E min E min
4 4 ’ ’ 4 ’ ’ ’ ’
œ
œ œ
Bass/Strum w/8th Notes
18 Full Strum Quarters + 8ths 19 Bass/Strum w/8th Notes 20 + Alternating Bass

E min E min E min

34 ≥Û ≥Û Û≤ ≥Û 34 ≥ ≥Û Û≤ ≥Û 34 ≥ ≥Û Û≤ ≥Û ≥ ≥ ≤ ≥
Û Û Û
œ œ œ
Bass/Strum w/8th Notes
21 Full Strum Quarters + 8ths 22 Bass/Strum w/8th Notes 23 + Alternating Bass

E min E min E min

3 ≥Û ≥Û Û≤ ≥Û Û≤ 3 ≥ ≥Û Û≤ ≥Û Û≤ 3 ≥ ≥Û Û≤ ≥Û Û≤ ≥ ≥Û Û≤ ≥Û Û≤
4 4 4
œ
œ œ
24 Full Strum Quarters + 8ths 25 Full Strum 8th Notes

34 ≥Û Û≤ ≥Û ≥Û 34 ≥Û Û≤ ≥Û Û≤ ≥Û Û≤
E min E min
12 Rhythm Guitar Reference godfreyguitarlessons.com

Fingerpicking Patterns in 4/4. These can be adapted to 2/4.

p = Thumb The letters indicating which finger plucks the string are from classical guitar
i = 1st Finger notation. You’ll see these markings in other guitar music, so it’s best to get used to
m = 2nd Finger seeing them.
a = 3rd Finger
For fingerpicking in general, 1st finger plucks the 3rd string, 2nd finger plucks the
2nd string, the 3rd finger plucks the 1st string. The thumb plucks the 4th, 5th, or 6th
string, depending on the bass note.
Many of these patterns can be played using a pick instead of fingers.

Same as previous pattern

Same as previous pattern double the speed,
double the speed alternating bass
26 27 i m a i m a 28 i m a i m a
E min E min E min
4 Œ i mœ aœ 4 ‰ œœ‰ œœ 4 ‰ œœ‰ œœ
&4 œ 4 œ œ 4 œ œ
˙
pw p˙ p˙ p˙
p

Same as previous pattern

Same as previous pattern double the speed,
double the speed alternating bass
29 30 a m i a m i 31 a m i a m i
E min E min E min
4 Œ œ mœ i 4 ‰œœ ‰œœ 4 ‰œœ ‰œœ
a

&4 œ 4 œ œ 4 œ œ
p˙
pw p˙ p˙ p˙

Same as previous pattern

Same as previous pattern double the speed,
double the speed alternating bass
32 33 m i a m i a 34 m i a m i a
E min E min E min
4 œ 4 ‰œ œ‰œ œ 4 ‰œ œ‰œ œ
&4 Œ œ œ
a
4 œ œ 4 œ œ
m i

p˙
pw p˙ p˙ p˙

Same as previous pattern

Same as previous pattern double the speed,
double the speed alternating bass
a a a a
35 36 i m i i m i 37 i m i i m i
E min E min E min
4 Œ œœ i 4 ‰ œœ ‰ œœ 4 ‰ œœ ‰ œœ
a
m

&4 œ œ 4 œ œ œ œ 4 œ œ œ œ
i

p˙
pw p˙ p˙ p ˙
godfreyguitarlessons.com Rhythm Guitar Reference 13
Same as previous pattern,
alternating bass
38 a 39 a 40 a
E min E min E min mi
4 œ œ œ 4 Œ œœ Œ œœ 4 Œ œœ Œ œœ
m m

& 4 Œ œœ œœ œœ
i i

4 œ œ 4 œ œ
p˙
pw p˙ p˙ p˙

Same as previous pattern,

alternating bass
41 a a m a 42 a a m i
E min E min i m
œ œ œ œ œ œ œ œ
i m

4 4 ‰
&4 ‰ œ œ œ 4 œ œ œ
˙
p˙ p˙ p˙
p

Same as previous pattern,

except the first two notes
Travis Picking Pattern #1 are “pinched” (played together)

j m j m
43 44
E min
a
E min
4 œ œ œ œ 4 . œ œ œ œ
&4 ‰ œ
a

4 œ
i i

pœ pœ pœ pœ
p œ p œ p œ p œ
Same as previous pattern,
except the first two notes
Travis Picking Pattern #2 are “pinched” (played together)
45
E min m
a 46 E min a

4 ‰ œ j œ œ i
4 mœ . j œ œ
&4 œ œ 4 œ œ
i

œ pœ œ pœ
p œ p
p œ pœ
p
p œ
Same as previous pattern,
except the first two notes
Travis Picking Pattern #3 are “pinched” (played together)
E min
j j
47 48
E min
4 ‰ 4 .
m m

œ œ œ œ œ œ œ œ
i i i

&4 œ 4 œ
i

pœ pœ pœ pœ
pœ pœ pœ pœ

There are many more variations of Travis-style picking and fingerpicking patterns in general. Try
creating your own patterns, or come up with variations of any of the patterns you see here.
14 Rhythm Guitar Reference godfreyguitarlessons.com

Fingerpicking Patterns in 3/4. These can be adapted to 6/8.

Same as previous pattern with alternating bass
49 i m a i a 50 i m a i a i m a i a

œ œ œ œ ‰ œ œ œ œ œ
E min E min
3 3
&4 ‰ œ œ œ 4 ‰ œ œ œ
˙.
p
˙. p
˙. p

Same as previous pattern with alternating bass

a a a a a a
51 i m i m i 52 i m i m i i m i m i

œ œ œ œ ‰ œ œœ œ œœ œ
E min E min
3 3
&4 ‰ œ œ œ œ œ 4 ‰ œ œ œ œ œ
˙.
p
˙. p
˙. p

Same as previous pattern with alternating bass

a a a
53 54
œœ œœ œœ œœ œœ œœ
m m m
E min E min
3 3
&4 Œ 4 Œ Œ
i i i

œ œ œ œ œ œ
˙.
p
˙. p
˙. p

Same as previous pattern with alternating bass

55 56
œœ œœ œœ
E min E min
3 3
a a a

&4 Œ 4 Œ Œ
m m m

œ œ œ
i i i

˙.
p
˙. p
˙. p

Same as previous pattern with alternating bass

57 58

3 ‰ j œœ œœ 3 ‰ j œœ œœ ‰ œj œœ œœ
E min a
m E min a
m
a
m

&4 œ 4 œ
i i i

˙.
p
˙. p
˙. p

Same as previous pattern with alternating bass

E min E min
59 i m a m a i 60 i m a m a i i m a m a i

3 œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ
&4 œ 4 œ œ
˙.
p
˙. p
˙. p