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Massively Expand Your Chord Vocabulary (Without Mindlessly Memorising Shapes) (Patreon)

Published:
2026-04-17 16:50:17
Imported:
2026-04

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Hi all!

I was going to put this video out last week, but I ended up spending loads of time on the edit, putting in onscreen called diagrams for each of the chords mentioned in the video. Hope it's worth wait.

Anyway, the new video is now live and this one is potentially a bit of a game changer (sorry I hate that phrase, but I can't think of anything better right now!) if you've ever felt stuck in the habit of just memorising chord shapes without really understanding what you're playing.

In this one I'm breaking down how chords are actually constructed — focusing on intervals and how they work on the fretboard — so that instead of learning chords one at a time, you start to see the logic behind all of them. Instead of memorising a load of grips you'll be able to construct and mould chords in real time. Once it clicks, your chord vocabulary can grow massively in a much shorter space of time.

Please find tabs and a comprehensive chord shape dictionary below — so you've got everything you need to work through the concepts properly and at your own pace. As I say in the video, there's a lot of information here, so this might be a lesson to bookmark and work on over an extended period of time.

As always, if you have any questions or anything doesn't make sense, let me know in the comments. Hope you enjoy!

-Adrian

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Massively Expand Your Chord Vocabulary (Without Mindlessly Memorising Shapes)

If you've spent years memorising chord shapes without really understanding what you're playing, this video is for you. Rather than learning chords one at a time, I'm breaking down how chords are actually constructed — focusing on intervals and how they relate to each other on the fretboard. Once you understand the logic behind chord construction, your vocabulary can grow massively in a fraction of the time it would take through rote memorisation alone. In this video you'll learn: - How chord formulas work - How to construct and manipulate chords from using those formulas - How to apply this knowledge to rapidly expand your chord vocabulary Whether you're an intermediate player looking to level up or you've always wanted to understand the theory behind the shapes your fingers make, this one should be a real eye opener. Exclusive lesson materials including detailed tabs and a comprehensive chord shape dictionary are available to Patreon supporters - https://www.patreon.com/anyonecanplayguitar My in-depth course library: https://courses.anyonecanplayguitar.co.uk My latest album: https://zodiactoys.bandcamp.com/releases SUBSCRIBE for more: https://bit.ly/3Efy0W3 Check out my website: https://www.anyonecanplayguitar.co.uk Social blah: Instagram (occasionally I post here): https://www.instagram.com/acpgtr/ Hi 00:00 The best way to learn chords 00:15 3 ways to understand chords 01:18 How chord formulas work 02:28 Major chord construction 03:21 The A Shape chord family 05:34 The E shape chord family 13:14 The D shape chord family 15:14 Moveable A shape chords 16:25 Moveable E shape chords 20:11 Moveable D shape chords 21:39 Extended & altered chords 22:20 Bye 27:09

Comments

Marsha in Austin

What I struggle with is 4 and 5 note chords are often another chord- like rootless 9th is a minor 6 etc

anyonecanplayguitar

Yes, that can definitely get quite confusing. I could do an entire lesson on this and may well do so in the future. Because of the way most chords are built in stacked 3rds, you find different triads, and seventh chords kind of hidden within larger structures. For me, it helps to always think in terms of intervals surrounding root notes since just a shape on the guitar can be so many different things depending on context.

Tor

This video comes with perfect timing! I just bought your Triad course and after watching the first Triad basics video it all started to make sense for me. The logic behind chords has been a mystery for me for years, and now I am finally seeing the light! Thank you for the great explanation! I can't wait to dig into this video too... It seems like the perfect continuation! Thanks for all the great content and your great taste of music ❤️

Dave Randell

I love these explanations, and I’m sure I’ll be watching this time & time again, Thanks Adrian

Michael Rae

Excellent lesson! Thank you.

NB

Thanks so much Adrian - your explanations are always so well framed!

neill567

I would love such a lesson!

stephen earnshaw

That was an excellent lesson. I have been playing guitar at home for years without understanding any of this info. That may say more about me but thank you Adrian

Iain G

Great video as always Adrian. At last a tutorial of yours that the theory was all in my knowledge base! However, I wish I had the flexibility of your fingers. I find it impossible to do what you do with holding down middle strings while ringing out on higher ones. Examples of this are at 16:39 D and 17:05 Dsus4. How you hold down the D G and B strings while ringing out on the high E (or B) I will never know. Physically impossible for me!

Epi

I wish I'd had this years ago :) learning to play bass guitar over the last couple of years has helped me think in intervals instead of chord shapes

Jim Moore

Thanks for sharing this massive information

Sparkles

Thank you so much Adrian, another excellent lesson.

Keith Conner

this is fantastic. thank you

Bud

Great tutorial. Thanks Adrian!

Kenneth

Everybody else is teaching the how and my man out here teaching the why. Thanks, Adrian.

Richard Kendrick

Great lesson! I think it is helpful to remember that the strings which are fretted for the open E, A and D chord shapes correspond to the 5, 1 and 3 notes (from bass to treble) of each of these chords. Thus, you can modify each chord shape similarly to produce the desired new chord. There are some limitations, e.g. Esus2.

Fin

Thanks, a good summary. I understand the theory, I mean I get that you drop the 3rd to get a minor chord, but I always wondered why dropping a maj 3rd to min 3rd is sad sounding. Is that something that all humans agree on? In comparison, the flat 7 sounds "naturally" dissonant sounding. I can hear how that would create tension that invites resolution to the tonic. Is there something similar going on with the maj/min 3rd interval? Or is it learned? I mean do we grow up hearing minor 3rd = sad song and so expect that interval to signal heartbreak hotel up ahead?

stephen boxer

I don't think you should be defensive because you are concerned about offering a dry, theory lesson versus something fun. This is a great video that I've watched several times and gained a lot from. I'd like you to lean into these kinds of videos as you are very clear in your instruction and it makes difficult subjects easier to understand. My valuable than giving me a new song to learn IMHO!

Thrallchekker

Can anyone tell me the name of the open chord formed by F on the D string, A on the G string along with open B and open high e string?

Jost

Dear Adrian, thank you very much for all your helpful videos and tips – you make a real difference. I’ve noticed significant progress both creatively and technically since I started playing standing up. Because I can no longer look at the fretboard, I’ve been forced to play “blind,” relying much more on my sense of touch and hearing. This has been extremely beneficial for my playing, and I would recommend it to anyone. That said, I’m now wondering what the best way is to orient myself on the fretboard. I find myself torn between thinking in intervals, thinking in shapes, or using a combination of both. When focusing on intervals, I mainly try to switch between major and minor by converting major structures into minor (for example, adjusting scale degrees accordingly). On the other hand, when I think in shapes, I rely on the fact that scale patterns remain consistent across the fretboard, just starting in different positions. How do you personally navigate the fretboard when playing blind, and what would you recommend in this context? Might this make for an interesting video 😉? Best regards, Jost

hugh hales-tooke

Nice chord by the way. I think it's ambiguous. it isn't definitively one chord, and could be described in a number of different ways. I think the most meaningful way of describing it, would be defined by the context. The fact that F is the lowest note and that is followed by an A suggests an F major chord, and the open E goes along with that (making it an F Major 7th), but the open B string complicates things because that would be a b5 in an F Major chord. But the bottom line is that you don't get a very straightforward chord using any of the notes as the root of the chord.

Benjamin Arrowsmith

Hi - beginner here. A great video: thanks, Adrian! When you play an A minor, the 3rd moves down a fret to become a flat 3rd. When you play Asus4, the 3rd moves up a fret to become a 4th. Why not a sharp third? Thanks

samuel vertilus

Excellent. I understood a lot of things I was trying to learn in a few minutes with this.