Eight open chords can give you a useful start on guitar: Em, Am, C, G, D, A, E and Dm. You do not need to learn them in one sitting. Start with two, make them sound clear, and learn how to move between them while keeping a gentle beat.
This guide uses a normal left-handed guitar in standard tuning. Your right hand frets the notes and your left hand strums. The written string recipes always run from low E to high e, even though our mirrored pictures place the strings in the opposite visual order.
Read the chart without guessing
A vertical chord diagram is a small map of the neck. On Guitar Lefty, high e is on the left and low E is on the right. The nut is across the top. Horizontal lines represent frets, and dots tell you which strings to press. Read the labels before copying any chart from another source.
Finger one is your right index finger, two is middle, three is ring and four is little finger. A zero or open circle means play the string without fretting it. An X means leave that string out. It is not an instruction to make a percussive scratching sound unless the lesson specifically says so.
You will also see compact recipes such as x02210. Read one character per string, from low E through A, D, G and B to high e. That example means skip low E, play A open, fret D and G at two, fret B at one, and play high e open. It describes Am.
These recipes are not tiny diagrams to mirror. Their written order stays the same for both handednesses. For frets above nine, use separated numbers rather than trying to treat every digit as a separate string. The reading guide explains the differences between a recipe, a chart and tab.
A simple way to check any chord
Build the shape slowly, placing your fingertips close behind the relevant fret wires. Keep enough curve in each finger to avoid touching strings that should ring. Your thumb can support the back of the neck without squeezing it as hard as possible. Adjust the guitar’s position if the reach feels awkward.
Pick each intended string separately. A chord can sound vaguely acceptable when strummed even though one note is muted. Checking one string at a time tells you exactly where the problem is. Fix that note, then strum the chord again and listen for the improvement.
If a note buzzes, check position and pressure. If it is dull, look for another finger touching it. If it is sharp, check that you have not pulled the string sideways. Tune before making big judgments about a shape. A correctly fretted chord still sounds wrong on an out-of-tune guitar.
Let your hand relax between attempts. Make the chord, test it, release it and rebuild it. That sequence practises finding the shape. Holding a cramped grip for a long time does not teach the change any better. Stop if the movement hurts, and ask a teacher to check your setup if discomfort keeps returning.
Em: a friendly first shape
For Em, use the recipe 022000. Place your middle finger on the A string at fret two and your ring finger on D at fret two. The low E, G, B and high e strings remain open. Strum all six strings, beginning with the thickest one.
You can use index and middle instead. Choose one arrangement for the first few repetitions so your hand has a consistent task. Later you may choose a different fingering because it makes the next chord easier. Fingering is a practical choice, rather than part of the chord’s name.
Listen carefully to open G. The finger on D can lean into it and stop it ringing. Move that fingertip a little more upright before adding pressure. Check high e too: an unhelpful angle in the hand can bring part of your palm into contact with the thin strings.
Em contains the notes E, G and B, repeated across the six strings. You do not need six different notes to make a six-string chord. This is why a smaller voicing can still be the same chord. Explore the Em lesson, then practise five relaxed rebuilds.
Am: learn to choose the starting string
Am is x02210. Put index on B at fret one, middle on D at fret two and ring on G at fret two. Leave A and high e open. Strum from A, keeping the low E string out of this basic version.
The first finger often touches high e by accident. Pick B and high e separately and listen. If B rings but e does not, try a little more fingertip curve and a small change in wrist position. Avoid solving the problem by pressing every finger harder.
Practise moving from Em to Am with no beat at first. Say the destination string names as you place the fingers. Once the shapes are familiar, count four slow beats on each chord and strum only the first beat. The other three beats give you space to prepare.
The Am lesson includes a smaller four-string option. A reduced shape can be useful, but keep track of its starting string. Leaving strings out deliberately is part of playing guitar, not a sign that you are failing to play the “whole” instrument.
C: make room for the open strings
C major is x32010. Put ring on A at fret three, middle on D at fret two and index on B at fret one. G and high e stay open. Start your strum on A and leave low E out.
The fingers spread across three frets, so C may take longer to arrange than Em. Set the index finger first, then find middle and ring. If the ring finger struggles to reach, raise the neck slightly and check whether your hand has room to approach the fingerboard.
Pay special attention to open G. The middle finger on D can flatten onto it. Also check open high e beside the first finger. A clean C comes from leaving those strings space, as much as from pressing its three fretted notes.
A useful change is Am to C. Index and middle can stay in place while ring moves from G at fret two to A at fret three. Move slowly and keep listening. This gives you an early example of looking for shared fingers rather than rebuilding every chord from nothing.
Use the C chord page to hear the result. If the full reach is not ready, the three thin strings at G open, B one and high e open form a small C voicing. Strum only those three while learning the larger shape.
G: choose a version you can change into
The first G version here is 320003. Put middle on low E at fret three, index on A at fret two and ring on high e at fret three. D, G and B stay open. You can strum all six strings.
The distance between the bass fingers and the high e finger can feel unfamiliar. Place the bass notes first, then reach for high e without forcing your wrist into an uncomfortable bend. Keep the guitar supported so your hand can concentrate on fretting rather than holding the neck up.
You may also meet 320033. That version adds B at fret three and commonly uses ring on B and little finger on high e. Both are G major chords. They have slightly different note arrangements and can make different changes convenient.
Choose one version while learning a progression. Switching between G fingerings every attempt creates an extra decision before your hand has learned either one. Later, compare how each leads into D or C. The G lesson gives you a reliable reference for the basic shape.
D: a small shape with a precise strum
D major is xx0232. Put index on G at fret two, middle on high e at fret two and ring on B at fret three. D remains open. Begin the strum on D and keep both low E and A out of this version.
The three fingers form a compact group. Put them down one at a time and check each thin string. Ring on B needs to stand clear of high e; middle on high e needs enough space beside it. Small changes in fingertip angle can make a noticeable difference.
Practise the starting string separately: play open D, then brush the four intended strings. You can do that before making the shape. It teaches the picking hand where the chord begins, leaving fewer things to solve when the fretting hand joins in.
Try G to D with one strum per bar. Do not add a busy pattern until you can arrive on D without a long pause. Our D lesson includes the diagram and sound, while the rhythm guide helps you keep the count moving.
A and E: two useful major sounds
A major is x02220. Fret D, G and B at two, using index, middle and ring as a starting arrangement. Leave A and high e open, and skip low E. Three fingertips in one fret can feel crowded, so try placing them at slightly different depths within the space.
Some players prefer middle, ring and little finger. Others eventually use a small barre. You do not need the barre today. Try the two three-finger arrangements and choose the one that leaves high e clear without discomfort. The A chord lesson keeps the note layout easy to check.
E major is 022100. Start from Em using middle and ring on A and D at two. Add index on G at one. All six strings sound. Check that index does not touch the open B string, then compare E with Em by lifting and replacing that one finger.
That change gives you a useful listening exercise. E major contains G sharp where E minor contains G natural. You are hearing a changed third, one important part of the difference between these two chords. You do not have to label the entire sound as simply happy or sad; listen to the actual note changing.
Try a slow A–D–E–A progression, four counts per chord. The bass starting string changes, so let your left hand practise that job separately if needed. See the E chord lesson whenever the shape needs a quick reminder.
Dm: one different note, a different chord
D minor is xx0231. Put middle on G at two, ring on B at three and index on high e at one. D stays open, and the two thicker strings stay silent. Compare the recipe with D major: the high e string moves from fret two to fret one.
Your fingers also need to rearrange. Do not try to keep the D major fingering while forcing the high note down a fret. Place the Dm fingers calmly and pick each intended string. The index fingertip on high e has a small target, so stay close behind the first fret wire.
Alternate D and Dm slowly as a listening exercise, rather than treating them as interchangeable in a song. D major has F sharp; D minor has F natural. A song’s harmony decides which one belongs. The fact that both begin with D does not make either a substitute for the other.
Finish by playing Dm, Am, Dm, Am with one strum per chord. This gives you a manageable change between two minor shapes. Find the Dm reference if you need to check the fingering or hear the open D against the other notes.
Turn shapes into chord changes
Knowing a chord while your hand is already in place is one skill. Arriving there from another chord is a second skill. Practise the second job directly. Choose two shapes, move between them slowly, and look for one finger that can stay put or lead the movement.
Begin without a metronome. Make Em, release it and make Am. After a few careful repetitions, add four counts per chord. Strum on one, prepare during the remaining counts, and arrive at the next one. If that is rushed, allow eight counts. A steady simple part is the goal.
When you can keep going, try four downstrokes per chord. If the final stroke makes the change late, simplify again. It is fine to leave a little space before a change while learning, provided you know where the next beat is. Avoid stopping the count every time your fingers hesitate.
- First pair: Em–Am, repeated four times.
- Shared fingers: Am–C, then C–Am.
- Four-chord practice: C–G–Am–Em, one bar each.
- Major-key practice: A–D–E–A, one bar each.
- A quieter minor loop: Am–Dm–Am–Em.
These are original practice progressions, not promises that every song uses the same pattern. Play them slowly, listen to how the last chord leads back to the first, and try a different amount of space between strums. Your practice room can provide a steady pulse while you play.
Try one final listening check: strum a chord once, then pick its individual strings while keeping the shape. Notice how the full sound is made from those separate notes. If one string is unexpectedly silent, you now have a specific place to investigate.
A useful week of chord practice
On the first two sessions, focus on Em and Am. In the next pair of sessions, add C and the Am-to-C change. Bring in G and D once you can recognise the earlier shapes. A, E and Dm can wait until there is room in your practice, rather than arriving as a test at the end of the week.
Spend a minute checking individual strings, a few minutes changing between two chords, and a few minutes playing one progression. End with a version you can finish. Keep a short note such as “D starts on the correct string” or “C high e now rings”. Those observations tell you what is improving.
Do all six strings have to sound? No. Follow the recipe. Am and C begin on A in these versions; D and Dm begin on D. Including an extra bass note can change the sound and sometimes the chord’s bass identity. Learn the basic starting string first.
Can I change the finger numbers? Yes, when the notes remain correct and the movement is comfortable. Some fingerings work better for particular changes. Use the suggested arrangement long enough to understand it, then compare alternatives for a specific reason.
When should I learn barre chords? When you want movable shapes and can already make a few open chords without constant strain. You do not need perfect changes in every key. The barre-chord guide starts with small versions so you can add the skill gradually.
Your next task is simple: choose two chords from this page and play eight steady bars. Let the tempo be comfortable, keep the starting strings clear, and listen. That is how a collection of finger shapes begins to become music.
Prepared for Guitar Lefty with AI assistance. The written exercises are original teaching examples. All fret numbers assume standard tuning unless stated otherwise.