Bar Chords

In this lesson

Move the E-major shape to G major
Find the root before moving the shape
A-major shape: use this fingering
The C- and G-derived shapes
Check a barre without forcing it

A barre, also written “bar”, uses one finger to fret two or more strings at the same fret. A full barre spans all six strings; a partial barre covers fewer. The movable major-chord shapes in this lesson use the index finger for the barre.

Use standard tuning: low E, A, D, G, B, high e. Start with familiar open chords. In the shapes below, finger 1 is index, 2 middle, 3 ring and 4 little. Read the chord-diagram guide if the dots and string markings are unfamiliar.

In these diagrams, numbered dots show fingers, squares mark root notes and the thick horizontal band shows the index-finger barre. Fret numbers appear on the left. Read the strings from low E on the left to high e on the right.

Move the E-major shape to G major

An open E-major chord uses the frets 0–2–2–1–0–0, from low E to high e. Here, 0 means an open string.

Refinger open E with ring on A-string fret 2, little on D-string fret 2 and middle on G-string fret 1. Leave the index free.
Move those three fingers three frets towards the body: ring to A5, little to D5 and middle to G4.
Place the index across fret 3, supplying G on low E and the notes on B and high e.
Pick all six strings separately, then strum them together.

G major using the E-derived shape: frets 3, 5, 5, 4, 3, 3 from low E to high e, with an index barre across fret 3. — G major: the E-derived shape at fret 3. Squares mark G roots on low E, D and high e.

At fret 3, this E-major-derived shape is G major: low E to high e, 3–5–5–4–3–3. Its notes are G, D, G, B, D, G. The diagram’s finger numbers are 1–3–4–2–1–1.

It has the same G-major chord identity as an open G chord, with a different voicing: the notes are arranged and doubled differently.

Find the root before moving the shape

The root names the chord. In this E-derived shape, find it on low E under the barre: fret 3 is G, fret 5 is A and fret 8 is C. Moving the complete shape to fret 8 gives C major, 8–10–10–9–8–8.

The lowest sounding note is called the bass. It is the root in the four pictured shapes as used here, but other chord voicings can put a different chord member in the bass. Do not use “lowest note equals root” as a rule for every chord.

Moving a shape means moving every sounding position by the same number of frets. The barre takes over the notes that were open in the original shape.

A-major shape: use this fingering

B major using the A-derived shape: omit low E, then frets 2, 4, 4, 4, 2, with an index barre from A through high e at fret 2. — B major: the A-derived shape at fret 2. Squares mark B roots on A and G.

For the full five-string voicing shown, use fingers 2, 3, 4 on D, G and B and keep finger 1 at the barre.

For example, place the barre at fret 2 to play B major:

String	Fret	Finger
Low E	Omit	Keep silent
A	2	Index barre, 1
D	4	Middle, 2
G	4	Ring, 3
B	4	Little, 4
High e	2	Index barre, 1

Fret 2 is the example chosen here. Its root is B on A-string fret 2. Play from A through high e and leave low E silent.

An alternative is to fret D, G and B with a ring-finger partial barre. If that grip mutes high e, omit that string: the four remaining notes still form B major. That is a different voicing from the five-string diagram.

The C- and G-derived shapes

These shapes involve wider reaches. Use the exact string choices below, and start with the E-derived shape if these stretches are not comfortable.

E major using the C-derived shape: omit low E, then frets 7, 6, 4, 5, 4, with an index barre from G through high e at fret 4. — E major: the C-derived shape with a fret-4 barre. Squares mark E roots on A and B.

The C-derived shape shown sounds E major, omit–7–6–4–5–4, from low E to high e. Use little on A7, ring on D6, index on G4 and high e4, and middle on B5. The root is E on A7. Leave low E unplayed.

A major using the G-derived shape: frets 5, 4, 2, 2, 2, then omit high e, with an index barre from D through B at fret 2. — A major: the G-derived shape with a fret-2 barre. Squares mark A roots on low E and G.

The G-derived shape shown sounds A major, 5–4–2–2–2–omit. Use ring on low E5, middle on A4 and an index barre across D, G and B at fret 2. The root is A on low E5. Omit high e, as the diagram’s X requires.

“E shape”, “A shape”, “C shape” and “G shape” describe the open-chord patterns they come from. The root and fret position determine the sounding chord name.

Original chord drawings

The historical E-shape drawing, A-shape drawing, C-shape drawing and G-shape drawing are preserved for reference. The old A-shape drawing has no absolute fret label and labels the three upper fingers 1, 2, 3; use the fingering in this lesson, which leaves finger 1 free for the barre.

Check a barre without forcing it

Place the barre close behind the fret wire and pick the intended strings one at a time. If a string buzzes or stays muted, adjust the finger position before adding pressure. A small change along or across the finger can move a string away from a joint crease.

The E-shape steps above put the other fingers down before the barre. You can also practise placing the barre first. Use the order that helps you assemble the shape accurately; there is no required finger-placement order for every chord change.

For a short practice, form G major at fret 3, pick each string, release the pressure and rest. Repeat, then try the E-derived A-major chord at fret 5: 5–7–7–6–5–5. Use brief attempts and stop if the position hurts. Barre-chord alternatives provide smaller shapes while you work on the full grip.

Further reading: StringKick’s barre placement and movable shapes and Open Music Theory’s chord roots and bass notes.