Composition

Handbook
 GCSE COMPOSITION
You have to submit TWO compositions for GCSE music.

 One to your own brief

 One to an exam board brief

_________________________________________
Composition Requirements

A composition is defined as:

 A piece of music completely written and conceived by you

 You must compose the pieces but they can be performed by other musicians
 They can be...
 multi-tracked recordings (each track recorded separately)
 sequenced recordings where the learner programs all parts (using Cubase or Garageband)
 performed completely live
 NB: other performers to not have to be GCSE learners

In Composing, learners are required to compose a piece of music in response to a brief they have
set themselves, and another piece in response to a brief set by the exam board (for the second
composition).

Within these compositions learners are expected to use and develop their knowledge and
understanding of rhythm, melody, harmony and compositional techniques.

The compositions should be submitted in a recorded form and accompanied by a score, lead
sheet or written account of the composition which has been produced by the learner.

The compositions must be completed under supervised conditions within the centre to ensure
the authenticity of the learner’s submission.

It is not necessary for the learner to perform their own compositions. Where others have taken
part in the performance of a learner’s compositiona, this must be performed from a score that
has been prepared by the learner. The performer should not add any stylistic enhancement to the
written score/s.
 Composition 01 Mark Criteria

26-30 The composers intentions are wholly clear throughout the piece. A highly musical, stylish and
effective piece. There is a wide variety and/or advanced use of musical elements which
demonstrate a high level of musical understanding. Excellent development of ideas using
compositional techniques applied in an entirely appropriate way. The piece demonstrates
excellent understanding of stylistic and structural conventions.
21-25 The composer’s intentions are clear. Musically successful piece with a strong sense of style. There
is a variety of musical elements that show a good level of musical understanding. There is
development of ideas appropriate to the style showing understanding of several compositional
techniques. The piece demonstrates good understanding of stylistic and structural conventions.
16-20 The composer’s intentions are mostly clear. Musically coherent with a sense of style. There is a
range of musical elements which show musical understanding. There is development using a
range of appropriate compositional techniques. The structure is well defined and appropriate to
the musical style.
11-15 The composer’s intentions are clear in places. A mostly successful piece with some coherence
and some sense of style. There is some success in the use and combination of a range of musical
elements. There is some development using mostly appropriate compositional techniques. The
piece is extended within a defined structure mostly appropriate to the style.
6-10 Some intentions of the composer are evident in places. Musically simple with a little coherence.
There is a small range of musical elements and these have limited musical impact. Simple
development using some appropriate compositional techniques. The piece is extended within a
simple structure mostly appropriate to the style.
1-5 Lack of clear intention for the piece. Limited musical shape with little coherence. The use of
musical elements is very basic. Basic use of a few compositional techniques. Limited structural
consideration and limited understanding of style.
0 There is nothing worthy of credit.

A** A* A B C C D E/F F/G

9 8 7 6 5 4 3 2 1
28 26 24 22 20 19 15 11 8
 Composition 2 - Core Criteria out of 24

21-24 A highly musical, stylish and effective piece. There is a wide variety and/or advanced use of
musical elements which demonstrate a high level of musical understanding. Excellent
development of ideas using compositional techniques applied in an entirely appropriate way.
The piece demonstrates excellent understanding of stylistic and structural conventions.
17-20 Musically successful piece with a strong sense of style. There is a variety of musical elements
used in combinations that show a good level of musical understanding. There is development
of ideas appropriate to the style showing understanding of several compositional techniques.
The piece demonstrates good understanding of stylistic and structural conventions.
13-16 Musically coherent with a sense of style. There is a range of musical elements used in
combinations which show musical understanding. There is development using a range of
appropriate compositional techniques. The structure is well defined and appropriate to the
musical style.
9-12 A mostly successful piece with some coherence and some sense of style. There is some
success in the use and combination of a range of musical elements. There is some
development using mostly appropriate compositional techniques. The piece is extended
within a defined structure mostly appropriate to the style.
5-8 Musically simple with a little coherence. There is a small range of musical elements used in
simple combinations. Simple development using some appropriate compositional techniques.
The piece is extended within a simple structure mostly appropriate to the style.
1-4 Limited musical shape with little coherence. The use of musical elements is very basic. Basic
use of a few compositional techniques. Limited structural consideration and limited
understanding of style.
0 No work/no work worthy of credit.

Relation to the set brief - out of 6

6 marks The composition relates imaginatively to the given brief.
5 marks The composition relates effectively to the given brief.
4 marks There is success in relating the composition to the given brief.
3 marks There is some success in relating the composition to the given brief.
2 marks There is an attempt to relate the composition to the given brief.
1 mark There is little or no evidence of the relationship to the given brief
0 marks No work/no work worthy of credit.

A** A* A B C C D E/F F/G U

9 8 7 6 5 4 3 2 1 0
28 26 24 22 20 19 15 11 8 0
 Composition - the basic process

● Come up with your idea - usually a few chords. Ones that you like.

● Put them in order using a short number of bars - usually four. Though might
be more if you wish, or with more or less than 4 beats in a bar. You can
have one chord per bar, or more.

● Decide on a tempo for your idea. Then decide on a rhythm - to what kind of
rhythm will the chords be played. Swung? Block chords? Broken quaver
rhythm? Syncopated (off beat)? Fast pulsing chords?

● Come up with a melody - this will use the notes from the scale you are in.
You can find out what scale by asking the teacher or using your chord grid
sheet
◆ You can do this by Creating a simple note pattern 4 or 8 beats long
to begin with, in time with your chord sequence or a metronome
◆ Then try to add another pattern - maybe alter the original pattern
By playing it higher or adding a few extra notes

● Create other parts around your idea such as a bass line - uses the first
note of the chord. Played low!
● Or a drum rhythm. You can work out your drum part by trying it on keyboard
with a drum kit sound; using percussion such as a djembe or cajon; using
body percussion; or even having a go on a drum kit and showing what you
have come up with, to a drummer. This part needs patience!
● Use loopy or looper to put it all together if you cannot play the kick, snare
and hi hat parts all at once

That’s your a section done!

● Create another idea! You now have one idea. Let’s call this your A section
(or B if you prefer). A will usually become a VERSE while B might be a CHORUS.
You need to create another section which will be your B section. It can be
slightly the same as your previous section but must be related, as if it
belongs to the same song.

● Structure. Now that you have two ideas which can be called your sections
you now need to put them into an order. On Cubase or Garageband this will
mean copying and pasting your sections. Copy around 4 of your first idea,
and then 4 of your second. You can then cut certain parts out to form
an intro. For example, cut the bass for section A and drums leaving you with
a piano for the intro. Then cut the bass from the next repeat that you have
copied and pasted, leaving you with piano and bass playing.
 A good composition will
almost always have...
catchy melody . Some simple, some very
complex. However, complex melodies still have an
‘effortless’ quality

a clear structure

a catchy phrase or idea at

its core . Could be a guitar riff, a
piano chord sequence, a vocal hook Bu t
es
melody, a rhythmic pattern etc so m et im
w it h .. .

An alternative idea/section that

contrasts with the main idea/theme. To
provide variety and keep the listener
engaged

Repetition - but just the variety

right amount! Too much and it’s
boring; too little and there’s
nothing for the listener to
But with
&
‘hook’ onto
development

an introduction….and an three core areas: melody,

ending accompaniment,
rhythm . Almost all pieces
contain parts that fit within
these three areas

Stylistic consistency (consistency in style). A tango will stay

in a tango style throughout and use devices that are in keeping with
tango. A pop ballad will….you get the picture.

some kind of pulse . Balance . It may

There are examples of start quietly then end
pieces without a pulse such quietly, with a peak in Intro peak Outro

as in descriptive music but the middle. Or a peak calm calm

they are generally far more at the beginning, then

rare a quiet middle then
back to a manic loud
ending.

routine effective use of several musical elements - any of the

‘dR smith’ elements. Sometimes subtle use, e.g. slight increase in
texture; sometimes obvious use, e.g. loud accent or an ‘orchestral
stab’.
 Musical layers
Music, as you know, is made up of several parts – sometimes many parts; sometimes just one! Any part in almost all types of music sits in one of the sections
below. For example with Passenger's 'Let Her Go', his voice sings the MELODY, the guitar/s play the ACCOMPANIMENT and the drummer provides the RHYTHM
Section Explanation Instruments often used
This is the tune of the music. The part you will often remember and Voice; monophonic instruments (instruments that
Melody hum or sing along to! In many respects, especially with the music we in can only play one note at a time) – saxophone,
(pitched) western culture listen to, melody is the most important part and clarinet, trumpet, flute, (brass and woodwind
usually uses just one note at a time. instruments); lead guitar (solo lines); piano; violin;
lead synthesisers
This is named as such because it is the part that accompanies the Piano; rhythm guitar (all types – electric, classical,
Accompaniment melody. The accompaniment's main purpose is to support the melody steel, banjo); in orchestras, the accompaniment is
(pitched) and provide a rich layer of harmony (two or more notes together at provided by lots of instruments playing together at
the same time). The accompaniment is the part which provides the rich the same time to mimic all the notes that can be
colour to music and makes the music interesting by adding several played by a pianist at once, or by a guitarist at
layers. The accompaniment is the hardest part to play in many respects once. For example 14-15 brass players and 60-70
simply because it involves so many notes at once! string players would be in a symphony orchestra!
This is the lowest pitched section in the music and could be seen as Bass guitar; cello and double bass; in orchestras
Bass providing a foundation for the accompaniment or harmony. The bass the bass is provided by many cellos and/or double
(pitched) gives the music 'feel' along with the rhythm; in fact the two, bass and basses all at once to give a very powerful effect!
rhythm, work together specifically to provide the rhythm section. The Bass keyboard, using synthesised sounds (for
bass is the same as the melody, in that only one note at a time is example in electronic music).
usually played but just much lower and with normally less
embellishment.
The rhythm, although lowest on this list is the heartbeat of the music, Drum kit; percussion – conga, bongo, djembe,
Rhythm therefore fundamental to many pieces. The rhythm will normally make cajon, samba percussion etc.
(unpitched) use of percussion instruments. These are instruments that are hit
instead of plucked/bowed/blown etc. Percussion instruments are
usually unpitched so that they simply provide a sound which can be
used to provide a 'beat'. For example, the drum kit is unpitched and so
cannot be used to provide a melody! Be careful though, some
percussion instruments can be used to create melody and
accompaniment because they too are hit in order to create sound – for
example, xylophones, glockenspiels and of course the piano!
Some music doesn't actually use rhythm instruments but still has a
rhythm through the feel of the music. You will be able to tell when a
piece of music lacks rhythm – it will likely make you feel
uncomfortable or you will find that you cannot dance to it!
 Composing with chords
Degree I/1 II / 2 III / 3 IV / 4 V/5 VI / 6 VII / 7
Chord type in Maj MAJOR MINOR MINOR MAJOR MAJOR MINOR DIMINISHED
Chord type in Min MINOR DIMINISHED MAJOR MINOR MINOR MAJOR MAJOR
Theoretical ROOT/TONIC SUPER TONIC MEDIANT SUBDOMINANT DOMINANT SUBMEDIANT LEADING TONE
Relative Major Relative Minor
[when in minor [when in major
scale] scale]
Notes in scale C D E F G(7) A B
F G A Bb C(7) D E
Natural
Minor = Bb C D Eb F(7) G A
b3, b6, b7 Eb F G Ab Bb(7) C D
Ab Bb C Db Eb(7) F G
Melodic Min = Db Eb F Gb Ab(7) Bb C
b3
Gb Ab Bb Cb Db(7) Eb F
Harmonic B C# D# E F#(7) G# A#
Minor = E F# G# A B(7) C# D#
b3, b6
A B C# D E(7) F# G#
The V/5th D E F# G A(7) B C#
degree can G A B C D(7) E F#
always use a
dominant 7
chord
Interval in maj -TONE TONE TONE SEMITONE TONE TONE TONE SEMI
Interval in Nat -TONE TONE SEMITONE TONE TONE SEMITONE TONE TONE
min
Interval in Mel -TONE TONE SEMITONE TONE TONE TONE TONE SEMI
min
Interval in Har -TONE TONE SEMITONE TONE TONE SEMITONE 3 SEMITONES SEMI
min
 BASS
To figure out a bassline you simply use the root note of the chord you are playing. For example a chord sequence of:

Cm / / / | Fm / / / | Ab / / / | G7 / / / |

Will use the bass notes of:

C / / / | F / / / | Ab / / / | G / / / |

RHYTHM
Your rhythm needs to match the time signature you choose - in other words how many beats per bar you use.
Use the grid below to plan a rhythm:

4 beats per bar (4 beats per crotchet)

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Kick
Snare
Hi hat

6 beats per bar (3 beats per crotchet)

1 2 3 4 5 6 7 8 9 10 11 12
Kick
Snare
Hi hat

STRUCTURE
Perhaps the simplest part of the composition process - just decide what order you wish to put your parts in!

◆ Use A, B, C & D to identify your sections.

◆ If a section is slightly different then use A’ or B’ or so on with C or D.
◆ You can of course use the traditional VERSE, CHORUS, BRIDGE, MIDDLE 8,
INTRO and OUTRO method
 Melody
A well constructed melody will most often contain memorable, catchy, well structured
phrases. A musical phrase is like a spoken sentence. When you talk, you take a breath
after each sentence. With a musical phrase, you can almost hear a 'breath' at the end
of the phrase.

Scales your melody will be made up of notes from one or more scales. The chord grid
table will tell you what notes are in your scale if you are using major or minor
● Major
● Minor
● Chromatic - is simply every note (every semitone), incl. Sharps & flats
● Wholetone - is every tone (two semitones)

● Pentatonic (blues) - is a five note scale. blues pentatonic scales usually use
rd th th
a flattened 3 , 5 and 7 from the major scale

Below are some common Melodic devices used to construct melodies

(A musical device is simply a musical technique used to create a particular effect)
Imitation Imitation is where a melody in one part is repeated a few notes later in a different
part. This overlaps the melody in the first part, which continues. Imitation is a useful
textural device. For example, a flute may imitate a tune just played by the oboe.

Sometimes imitations contain slight changes to the tune, to make it more

interesting. These changes might be:
● changes in octave - it could be played higher or lower

● adding ornaments

● playing the same melody using notes of different duration

Riff, These three words mean similar things. Ostinato is more often used when
ostinato describing classical music and means a repeating pattern of notes or rhythms.
and loop Riff is more often used when describing pop music and means a recognisable pattern
of notes, which occur at important moments (such as the chorus) or throughout
a song and loop is used in contemporary dance music to mean a pattern which
appears as a cycle.

A riff, ostinato or loop is a repeated pattern of notes.

Sequence A sequence is a pattern of notes which goes up or down in pitch every time it is
repeated. For example, the first four notes might set the pattern, which is then
repeated over and over, each time higher in pitch.

Ground Ground bass uses a repeated bass part/melody/phrase throughout while the

bass other instruments play their respective parts over the ground bass.

Hooks, ● A hook is a short catchy melodic idea designed to be instantly memorable.

fills and ● A fill is a short flourish used to fill a gap between phrases and is often played
breaks on drums or percussion
● A break is an extended instrumental section in dance music or a solo in pop
and jazz, usually improvised.
Ornaments
Ornaments are decorative notes which embellish (decorate) a melody:
● a trill is formed by quickly playing the note and the note above it alternately
(see below)

● a mordent is formed by playing the note, the note above and then back to the
first note (see below)

● a grace note is a single note ornament such as the acciaccatura or

appoggiatura (see below)

Acciaccatura An acciaccatura is played as quickly as possible before the note that

follows it. It is sometimes called a crushed note.

Appoggiatura An appoggiatura leans on the main note, taking half of its value. This
is less subtle than the acciaccatura and often sounds very much like
it belongs to the original melody.

Mordent A mordent uses the main note then quickly plays the note above before
quickly returning to the main note again; almost like the first three
notes of a trill.

Trill A trill uses two notes next to each other very quickly. These can last
as long as you wish and are usually used at the end of a phrase.
 Texture - ‘bulking’ out your composition
You now likely have chords (accompaniment), rhythm & bass, and a melody.
You should also have put them into a clear structure and order.
This is the part at which you begin to ‘bulk’ out your composition and add
extra touches to boost your marks and essentially make this into a
complete piece of music.

Below are some devices and techniques:

Accompaniment ● Chords - you can simply make these richer and thicker textured by adding more notes or drawing

more notes if you are using computers via the Cubase/Garageband note editor.

● Use chord voicings - so the chord of G major = GBD; this can be played as BDG, or DGB.

● Stabs - you can add accents on certain chords with different sounds/instruments, e.g. a guitar

chord on a certain chord or key moment. These can be staccato accents also.

● Strings and pads - these are sounds that provide long held notes. They can add richness to

your sound. You can use real life strings that you might hear from an orchestra (a collection

of violins, violas, cellos and double bass), or you can use synthesiser strings. Pads are

electronic instruments and can be very rich.

● Sus chords - you can use a very simple sus chord and this chord can almost always play over

any of your chords or the entire song or a section! Just simply play the first note of the

key you are in (usually the first chord tells you the key you are in) and the fifth note. This

is your chord and you can use it however you wish - held, broken chords, octaves etc.

● Counter melody - a simple pattern usually (which can also be called a riff, loop or ostinato)
Melody played alongside your main melody can become a kind of ‘background melody’ - we can call

this a counter melody. It should not overshadow your main melody.

● Variation - all melodies usually make use of repetition; we hear them come back throughout

a piece. However, you can slightly vary your melody each time we hear it. You can make it louder,

make it quieter, use a different instrument, harmonise it, make it higher or lower pitched, make

it slower, make it faster, use imitation and call and response...there’s so much you can try.

● You can take your existing drum beat and add more notes to make it more complex.
Rhythm ● You can also simply slightly change elements such as use a ride cymbal instead of the hi hat.

● Make use of crashes and fills. Use a fill as you enter a new section (from verse to chorus

for example) and begin the new section using a crash cymbal hit.

● If you want to be more complex, use fx. You can use ‘delay’ (found in cubase & garageband)

and apply this to make a beat sound more complex - it’s very simple actually but makes a huge

difference.

● Add extra percussion sounds. For example add hand claps (with the snare hits); add a

tambourine or shaker; add bongos or a djembe.

● Again, this is more complex but try and incorporate syncopation (offbeat patterns). This can

make a huge difference and will take some experimenting. You can syncopate the hi hat, the kick

and snare parts, the extra percussion (for example, add a syncopated tambourine part) or

any other part

● Consider the bass as your rhythm - yes that’s right. There are pieces with no actual percussion

instruments and where the bass itself provides the rhythm. The bass guitar/instrument is also

part of the rhythm section in many ways so can function as the main rhythm for your piece.

Just make sure it is rhythmic and has a groove to it, rather than just one held note every

time you change chord.

 Composition - higher level a* tips

You must address these three core areas:

melody
 Memorable; based on phrases rather than riffs - a riff is not a melody!!!
 A mixture of disjunct and conjunct phrases ‘Hello’ by Adele (verse - conjunct/chorus disjunct

 Use of effective articulation and ornamentation

 Effective use of timbre (including variation in timbre)
 Listen to - ‘I’d Do Anything’ from Oliver! (the musical) for all of the above

accompaniment
 Good use of chords/harmony. Complex cadences do not guarantee a good listening
experience. For example, Alicia Keys’ ‘Fallin’
 Key changes that appear as necessary NOT forced (at a change of section/theme/plot/phrase etc) -

‘After The Love Has Gone - Earth Wind and Fire . Can also be very subtle - moving to the minor key of

the same root (Dmajor to Dminor). Listen to ‘Reflektor’ by Arcade Fire at 2:55 mins

 Alter your chord voicings from just the original root inversions

rhythm
 Can be just on bass - rhythm does not mean you MUST use drums. Listen to ‘Let You Down’
by Dave Matthews Band
 Must compliment the accompaniment not destroy or overpower it
 Polyrhythms & cross rhythms ‘Drive in Drive Out’ by Dave Matthews Band (3:34)
 Compound time signatures
 Irregular time signatures ‘Rapunzel’ by Dave Matthews Band
 Pauses! Can be really short - ‘Bullet In The Head’ by Rage Against the Machine (3:04)
 Effective use of timbre - not just using the kick and snare for example.
 Syncopation - really makes a huge difference! Candi Station’s ‘Young Hearts Run Free’
only really grooves because of the constant syncopation in the bass, the chords,
the brass, the chorus melody...all set against a strict straight rhythm

Then, effective use of the elements...

 Texture - a sudden drop in texture to create drama ‘Mojo Pin’ by Jeff Buckley(3:55) ;
polyphonic; fugue; canon
 Dynamics - as above; sudden loud hits for impact; sudden changes can have an amazing
impact - crescendos and diminuendos;
 Structure - don’t exhaust an idea! Change sections regularly; introduce a solo or
instrumental; ‘I Only Wanna Be With You’ by Hootie and the Blowfish ; maybe avoid
structure and create a piece with one idea that simply relies on change and evolution of
that one idea - listen to ‘Undertale’ by Toby Fox (from the game ‘Undertale’)
 Instrumentation - vary the timbre ‘’Right Through You’ - Alanis Morissette’ ; use
instruments that can stand out and have full impact - experiment; think about the ways
instruments can be used, pizzicato, bowed, plucked, strummed, staccato/legato etc

Anything underlined and in quote marks ‘ ‘ is an example that you should listen to
 Piano Chord Chart
C Cm C7

Db Dbm Db7

D Dm D7

Eb Ebm Eb7

E Em E7

F Fm F7

Gb Gbm Gb7

G Gm G7

Ab Abm Ab7

A Am A7

Bb Bbm Bb7

B Bm B7

Copyright © 2005, Scott Bradford Creative Enterprises - http://www.scottbradford.us/

 Piano Chord Chart
Cm7 Cdim Csus

Dbm7 Dbdim Dbsus

Dm7 Ddim Dsus

Ebm7 Ebdim Ebsus

Em7 Edim Esus

Fm7 Fdim Fsus

Gbm7 Gbdim Gbsus

Gm7 Gdim Gsus

Abm7 Abdim Absus

Am7 Adim Asus

Bbm7 Bbdim Bbsus

Bm7 Bdim Bsus

Copyright © 2005, Scott Bradford Creative Enterprises - http://www.scottbradford.us/

 Beginners Guitar Chords
open position chords (first three frets plus nut or open strings)

Black diamonds are root tones.

Grayed tones are optional.
White filled tones behind the nut are open string tones (to be included in chord).
X ed strings at the nut are muted or not played.

Large numbers inside chord dots are fingering numbers:

1 = index finger
2 = middle finger
3 = ring finger
4 = little finger
T = thumb

E E E E E E
Major minor Dom 7 minor 7 Major 7 Major 6

1 1 1 2 1

2 3 2 3 2 1 2 3 2 3 4

4 3

R 5 R 3 5 R R 5 R 3 5 R R 5 7 3 7 R R 5 R 3 7 R R 5 7 3 5 R R 5 R 3 6 R

A A A A A A
Major minor Dom 7 minor 7 Major 7 Major 6

1 1 1
2 1 3 2 3 2 3 2 2 3 1 1 1 1

5 R 5 R 3 5 5 R 5 R 3 5 5 R 5 7 3 5 5 R 5 7 3 5 5 R 5 7 3 5 5 R 5 R 3 6

D D D D D D
Major minor Dom 7 minor 7 Major 7 Major 6
X X X X X X
1 1 1 1

T 1 2 2 2 3 2 1 1 1 1 2
3 3

3 5 R 5 R 3 5 R 5 R 3 5 R 5 7 3 5 R 5 7 3 5 R 5 7 3 5 R 5 6 3

Basic Guitar Chords TheCipher.com © 2003 Roger Edward Blumberg 1

 Beginners Guitar Chords (continued)
open position chords (first three frets plus nut or open strings)

G G G G G G
Major minor Dom 7 minor 7 Major 7 Major 6
X
1 1

1 see barre chord 2 see barre chord 2 1 2

2 3 2 3 4 3 2 3 3 3 3 3 3

R 3 5 R 3 R R 3 5 R 5 R R 3 5 R 3 7 R 7 3 5 R R 3 5 R 3 7 R 3 5 R 3 6
5
C C C C C C
Major minor Dom 7 minor 7 Major 7 Major 6
X X X X X X
1 1 1 1 1

2 see barre chord 2 see barre chord 2 2 3

3 4 2 3 3 4 1 2 3 3 4

4 4 4
5 R 3 5 R 3 R 3 5 3 5 R 3 7 R 3 R 7 3 5 R 3 7 R 3 R 3 6 R 3

F F F F F F
Major minor Dom 7 minor 7 Major 7 Major 6
X X X X X X
1 1 1 1 1 1 1 1 1 1 1 1 1 1

2 2 2 2

3 4 3 4 3 3 3 3 4
see barre chord see barre chord see barre chord see barre chord

5 R 3 5 R 5 R 3 5 R 5 7 3 5 R 5 7 3 5 R 3 R 3 5 7 3 R 3 6 R

B B B B B B
Major minor Dom 7 minor 7 Major 7 Major 6
X X X X X X X X X
see barre chord 1

1 1 2 3 4 1 1 1 1 1
see barre chord 2 2 1

2 3 4 3 4 3 3 2 1 1 1 1

5 R 3 5 5 R 3 5 R 3 7 R 5 R 5 7 3 5 R 5 7 3 5 5 R 3 6

Basic Guitar Chords TheCipher.com © 2003 Roger Edward Blumberg 2

 Beginners Guitar Chords (continued)

Movable Barre chords

Root on String One (low E)

Major minor Dom 7 minor 7 Major 7 Dom 7/6

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

2 2 2 3 2

3 4 3 4 3 3 4 3 4

R 5 R 3 5 R R 5 R 3 5 R R 5 7 3 5 R R 5 7 3 5 R R 5 7 3 5 R R 5 7 3 6 R

* Root on String Two

Major minor Dom 7 minor 7 Major 7 Major 6

X X X X X X
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

2 2 2

3 3 3 3 4 3 4 3 3 4 3 3 3 3

5 R 5 R 3 5 5 R 5 R 3 5 5 R 5 7 3 5 5 R 5 7 3 5 5 R 5 7 3 5 5 R 5 R 3 6

* Low 5th (grayed tone) is always optional. If used, simply barre across all 6 strings with your index finger.

The roots (lowest black diamonds) of these barre chord voicings can be aligned to any fret-
line to produce the desired letter named chord.

For example: the Major barre chord shape that looks like the open position E Major chord
(top row, root on string one or low E) can be played at the first fret for an F Major chord, or
at the third fret for a G Major chord. Likewise, the Major barre chord shape that looks like
the open position A Major chord (second row, root on string two or A) can be played on the
second fret for B Major or on the third fret for C Major.

This principle applies to all barre chords, Major, minor, seventh, etc. That's the beauty of
barre chords, they're movable and universal.

Memorize the letter names and locations (fret number) of the notes on strings one and two,
low E and A (first twelve frets). Consult the Guitar Fretboard Note Speller.

Basic Guitar Chords TheCipher.com © 2003 Roger Edward Blumberg 3

 Guitar Fretboard Spelled
Nut = open strings Fret 0

Nut
Fret # 0 E A D G B E

1 F A/B D/E G/A C F

2 F/G B E A C/D F/G

3 G C F A/B D G

4 G/A C/D F/G B D/E G/A

5 A D G C E A

6 A/B D/E G/A C/D F A/B

7 B E A D F/G B

8 C F A/B D/E G C

9 C/D F/G B E G/A C/D

10 D G C F A D

11 D/E G/A C/D F/G A/B D/E

octave
fret 12 E A D G B E

Basic Guitar Chords TheCipher.com © 2003 Roger Edward Blumberg 4

 Michelle Kiba’s “Pa Mele O Hokulea Ukulele Academy”
STUDENT UKULELE CHORD CHART
“g c e a” Standard Tuning
C C7 Cm Cm7 Cdim Caug C6 Cmaj7 C9

Db Db7 Dbm Dbm7 Dbdim Dbaug Db6 Dbmaj7 Db9

D D7 Dm Dm7 Ddim Daug D6 Dmaj7 D9

Eb Eb7 Ebm Ebm7 Ebdim Ebaug Eb6 Ebmaj7 Eb9

E E7 Em Em7 Edim Eaug E6 Emaj7 E9

F F7 Fm Fm7 Fdim Faug F6 Fmaj7 F9

© Michelle Kiba, Ukulele Instructor (831) 476-4819 [email protected]

Gb Gb7 Gbm Gbm7 Gbdim Gbaug Gb6 Gbmaj7 Gb9

G G7 Gm Gm7 Gdim Gaug G6 Gmaj7 G9

Ab Ab7 Abm Abm7 Abdim Abaug Ab6 Abmaj7 Ab9

A A7 Am Am7 Adim Aaug A6 Amaj7 A9

Bb Bb7 Bbm Bbm7 Bbdim Bbaug Bb6 Bbmaj7 Bb9

B B7 Bm Bm7 Bdim Baug B6 Bmaj7 B9

© Michelle Kiba, Ukulele Instructor (831) 476-4819 [email protected]

 Bass Fretboard Notes Spelled
Nut = open strings Fret 0

Nut
Fret # 0 E A D G

1 F A/B D/E G/A

2 F/G B E A

3 G C F A/B

4 G/A C/D F/G B

5 A D G C

6 A/B D/E G/A C/D

7 B E A D

8 C F A/B D/E

9 C/D F/G B E

10 D G C F

11 D/E G/A C/D F/G

octave
fret 12 E A D G

www.TheCipher.com © 2002 Roger Edward Blumberg

 Composition: Are you doing the following???

1. Do you have a four bar phrase or idea? Or a short idea or phrase?

2. Have you created an alternative idea or phrase to act as another section?

3. Have you advanced or adjusted your chords? Replacing chords OR adding more complex chords
OR using broken chords OR sustained chords and much more?
4. Have you created a melody to go with your idea?

5. Have you thought about other parts of the accompaniment? A bass line, a rhythm/beat, a counter
melody?
6. Have you figured out a structure?

7. Have you started to think about your instrumentation? What instrument will have the melody?
What kind of drums will you use - percussion or a full drum kit?
8. Have you now started to ‘boost’ your piece with small touches such as dynamics, adjustments in
texture, variations in melody, harmonies, silences or pauses, hooks, or fills or anything else?
9. Have you practised your piece so that you are able to play it, ready for when you are told to
record it? Do you need other musicians - if so have you contacted them?
10. Is your piece recorded on a phone or written on paper so that you can provide evidence that it
actually exists??!!!

Composition: Are you doing the following???

11. Do you have a four bar phrase or idea? Or a short idea or phrase?

12.Have you created an alternative idea or phrase to act as another section?

13. Have you advanced or adjusted your chords? Replacing chords OR adding more complex chords
OR using broken chords OR sustained chords and much more?
14. Have you created a melody to go with your idea?

15. Have you thought about other parts of the accompaniment? A bass line, a rhythm/beat, a counter
melody?
16. Have you figured out a structure?

17. Have you started to think about your instrumentation? What instrument will have the melody?
What kind of drums will you use - percussion or a full drum kit?
18.Have you now started to ‘boost’ your piece with small touches such as dynamics, adjustments in
texture, variations in melody, harmonies, silences or pauses, hooks, or fills or anything else?
19. Have you practised your piece so that you are able to play it, ready for when you are told to
record it? Do you need other musicians - if so have you contacted them?
20. Is your piece recorded on a phone or written on paper so that you can provide evidence that it
actually exists??!!!