First Chords and Simple Changes

What “First Chords” Mean on Classical Guitar

A chord is a group of notes played together. On classical guitar, chords are often played by plucking several strings at once (arpeggio) or by plucking multiple strings together (a block chord). In your first chord work, the goal is not volume or speed; it is reliability: each note rings clearly, the hand stays relaxed, and you can move from one chord shape to another without losing your place.

Unlike single-note melodies, chords require you to place two or three left-hand fingers at the same time, often on different strings and different frets. This is why chord practice is a powerful next step: it trains “shape thinking” (placing a whole pattern) rather than “note thinking” (one finger at a time).

Chord diagrams: how to read them quickly

Many beginner chord resources use a chord diagram: six vertical lines (strings) and horizontal lines (frets). The leftmost vertical line is the 6th string (low E), and the rightmost is the 1st string (high E). A dot shows where a finger goes. A “0” above a string means play it open. An “X” means do not play that string. If a number appears inside a dot, it indicates which left-hand finger to use (1=index, 2=middle, 3=ring, 4=pinky).

Even if you are reading standard notation elsewhere, chord diagrams are useful for quickly learning shapes. The key is to translate the diagram into a physical plan: which fingers, which strings, which frets, and which strings will sound.

Your First Chord Set (Classical-Friendly Shapes)

The following chords are common, sound good on nylon strings, and are friendly to early technique. They also allow simple changes with minimal finger travel. You can play them as block chords or as arpeggios.

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Chord 1: E minor (Em)

Shape: 2nd fret on the 5th string with finger 2 (middle), 2nd fret on the 4th string with finger 3 (ring). All other strings open. Play strings 6–1.

• String 6: open E
• String 5: 2nd fret (B)
• String 4: 2nd fret (E)
• String 3: open G
• String 2: open B
• String 1: open E

Why it’s good: Two fingers on adjacent strings, same fret. This helps you learn “pair placement” and keeps the hand stable.

Chord 2: A minor (Am)

Shape: 1st fret on the 2nd string with finger 1 (index), 2nd fret on the 4th string with finger 2 (middle), 2nd fret on the 3rd string with finger 3 (ring). Usually play strings 5–1 (avoid the 6th string).

• String 5: open A
• String 4: 2nd fret (E)
• String 3: 2nd fret (A)
• String 2: 1st fret (C)
• String 1: open E

Why it’s good: Introduces a three-finger shape and the idea of avoiding a string (not every chord uses all six strings).

Chord 3: C major (C)

Shape: 1st fret on the 2nd string with finger 1, 2nd fret on the 4th string with finger 2, 3rd fret on the 5th string with finger 3. Play strings 5–1 (avoid the 6th string).

• String 5: 3rd fret (C)
• String 4: 2nd fret (E)
• String 3: open G
• String 2: 1st fret (C)
• String 1: open E

Why it’s good: Very common chord; the change between Am and C is especially useful because two fingers can stay in place.

Chord 4: G major (G) “easy classical” version

There are multiple G shapes. For early chord changes, use a simple two-finger version that still sounds like G.

Shape: 3rd fret on the 6th string with finger 3 (ring), 3rd fret on the 1st string with finger 4 (pinky). Play strings 6–1.

• String 6: 3rd fret (G)
• String 5: open A (this adds color; acceptable in beginner context)
• String 4: open D
• String 3: open G
• String 2: open B
• String 1: 3rd fret (G)

Why it’s good: Builds pinky use without a complex full G shape. It also trains you to keep open strings ringing while holding a note on the 1st string.

Chord 5: E major (E)

Shape: 1st fret on the 3rd string with finger 1, 2nd fret on the 5th string with finger 2, 2nd fret on the 4th string with finger 3. Play strings 6–1.

• String 6: open E
• String 5: 2nd fret (B)
• String 4: 2nd fret (E)
• String 3: 1st fret (G#)
• String 2: open B
• String 1: open E

Why it’s good: Similar “two fingers on the 2nd fret” feeling as Em, but adds a 1st-fret note on a different string.

How to Form Chords Cleanly (Without Repeating Earlier Fundamentals)

When chords buzz or sound muted, the cause is usually not “weak fingers” but small placement issues. Use this chord-building checklist each time you learn a new shape.

Step-by-step chord building routine

• Step 1: Place fingers in an efficient order. Start with the finger that anchors the hand position. Often this is the lowest-fret finger (like index on 1st fret), but sometimes it is the finger that determines reach (like ring on 3rd fret in C major).
• Step 2: Place all fingers, then test. Avoid placing one finger and immediately plucking; you want the hand to learn the full shape. After all fingers are down, test the chord.
• Step 3: Test one string at a time. Pluck slowly from the lowest string you plan to play to the highest. Listen for clear ringing. If one string is muted, adjust only what is necessary.
• Step 4: Micro-adjust, not re-build. If the 2nd string is muted in Am, do not lift the whole hand. Try a tiny change: move the index finger slightly closer to the fret, or rotate the fingertip angle a few millimeters.
• Step 5: Release pressure without leaving the strings. After a clean chord, relax the hand by reducing pressure while keeping fingertips touching the strings. Then press again. This teaches control and prevents “clamping.”

Common chord problems and quick fixes

• Open string buzzes: A fretted finger may be touching an adjacent open string. Fix by curving the fretting finger more or moving the knuckle slightly away from the string you are muting.
• Fretted note buzzes: The finger may be too far from the fret or not stable. Fix by placing the fingertip closer to the fret wire (not on top of it) and checking that the finger is not collapsing.
• One note “dies” when another finger is added: This often happens in Am when adding the ring finger on the 3rd string. Fix by placing the ring finger so it does not lean into the 2nd string, and ensure the index finger stays on its tip rather than flattening.
• Chord sounds uneven: When arpeggiating, some strings may be much louder. Fix by practicing the arpeggio slowly and aiming for consistent tone across strings.

Simple Changes: The Real Skill Behind Chords

Knowing a chord shape is only half the job. Music requires moving between chords in time. A “simple change” is a chord transition that you can execute smoothly at a slow tempo with minimal extra motion. The secret is to reduce movement: keep fingers that can stay, and move the others efficiently.

The three tools for easier chord changes

• Guide fingers: A finger that stays on the same string and fret between chords. Example: Am to C keeps finger 1 on the 2nd string, 1st fret, and finger 2 on the 4th string, 2nd fret.
• Pivot fingers: A finger that stays down but changes its role as other fingers move around it. It becomes a “hinge” that stabilizes the hand.
• Pre-shaping: Forming the next chord shape in the air just before landing. Your fingers move as a group rather than one-by-one.

Practice Method 1: “Plant and Check” for Each Chord

Use this to learn each chord shape reliably before attempting fast changes.

Step-by-step

• Choose one chord (Em, Am, C, easy G, or E).
• Place the chord, then pluck each string you intend to play one at a time.
• If any string is wrong, fix it with a small adjustment and re-test only the affected strings.
• Once clean, arpeggiate the chord slowly (for example, bass to treble).
• Release pressure (without lifting fingers completely), then press again and repeat.

Do this for 2–3 minutes per chord. The goal is consistency, not endurance.

Practice Method 2: Two-Chord Changes (Slow, Accurate, Repeatable)

Pick two chords and alternate them. Start with changes that have guide fingers. Below are recommended pairs and what to focus on.

Change A: Am ↔ C (best first change)

What stays: Finger 1 stays on 2nd string, 1st fret. Finger 2 stays on 4th string, 2nd fret. Only finger 3 moves: from 3rd string, 2nd fret (Am) to 5th string, 3rd fret (C).

Step-by-step drill

• Form Am and check strings 5–1.
• Without lifting fingers 1 and 2, move finger 3 to the 5th string, 3rd fret to form C.
• Check strings 5–1.
• Move finger 3 back to the 3rd string, 2nd fret to return to Am.

Key idea: Treat fingers 1 and 2 as “glued” to the guitar. This reduces the change to a single-finger move.

Change B: Em ↔ E (color change with shared fingers)

What stays: Fingers 2 and 3 can remain on the 5th and 4th strings, 2nd fret. The difference is adding/removing finger 1 on the 3rd string, 1st fret.

Step-by-step drill

• Form Em (fingers 2 and 3 on 2nd fret, strings 5 and 4).
• Pluck strings 6–1 slowly.
• Keep fingers 2 and 3 down, add finger 1 to the 3rd string, 1st fret to make E.
• Pluck strings 6–1 slowly.
• Lift only finger 1 to return to Em.

Key idea: Learn the feeling of “adding a note” to change harmony while the hand stays stable.

Change C: C ↔ easy G (bigger move, still manageable)

This change introduces a larger repositioning. Use pre-shaping: as you release C, your ring and pinky prepare to land on the 3rd fret (6th and 1st strings).

Step-by-step drill

• Form C and check strings 5–1.
• Release pressure and let fingers leave together.
• In the air, shape finger 3 and finger 4 so they are ready for the 3rd fret.
• Land finger 3 on 6th string, 3rd fret and finger 4 on 1st string, 3rd fret.
• Pluck strings 6–1.
• Return to C by pre-shaping the C chord in the air, then landing all three fingers.

Key idea: When there are no guide fingers, the skill is coordinated landing, not speed.

Right-Hand Patterns for Chords (Arpeggios and Block Chords)

Chords become musical when you apply a consistent right-hand pattern. Use patterns that are easy to remember and repeat. Choose one pattern and keep it the same while you learn the left-hand changes.

Pattern 1: Simple arpeggio (bass then three trebles)

For chords that start on the 6th string (Em, E, easy G), use: bass string, then 3rd, 2nd, 1st strings. For chords that start on the 5th string (Am, C), use: 5th string, then 3rd, 2nd, 1st strings.

Example (4 notes): Bass - 3 - 2 - 1

Repeat this pattern steadily while holding the chord. Then repeat while changing chords every pattern cycle.

Pattern 2: Six-string “roll” for fuller sound

For chords where you play many strings (Em, E, easy G), roll from low to high slowly. Keep it controlled and even.

Example (6 notes): 6 - 5 - 4 - 3 - 2 - 1

Use this as a listening exercise: can you make each string speak clearly and at a similar volume?

Pattern 3: Block chord (simultaneous pluck)

Pluck multiple strings together to hear the chord as a single event. This is useful for checking whether all notes ring at the same time. Use it sparingly at first, because arpeggios make it easier to hear which string is wrong.

Timing the Change: “Change on the Silence”

A common beginner problem is rushing the left hand. Instead, plan the change so it happens during a moment when the right hand is not plucking. This creates a small “window” for the left hand to move.

Step-by-step with a 4-note arpeggio

• Play the arpeggio Bass-3-2-1 on chord 1.
• After the last note (string 1), allow a tiny pause.
• Use that pause to move to chord 2.
• Start the next arpeggio on chord 2.

At first, the pause can be noticeable. As you improve, the pause becomes very small, but the principle remains: the change is planned, not panicked.

Mini-Progressions (Your First “Music-Like” Chord Sequences)

Practice chord changes in short progressions. Keep them slow and repeat them many times. Use either an arpeggio pattern or block chords.

Progression 1: Am – C – Am – C

Focus: guide fingers and one-finger movement. Aim for identical sound quality each time.

Progression 2: Em – E – Em – E

Focus: adding/removing one finger without disturbing the others. Listen for the 3rd string note changing cleanly.

Progression 3: Am – C – easy G – C

Focus: pre-shaping for the bigger move to G, then returning to C cleanly.

Progression 4: C – Am – Em – E

Focus: switching between 5th-string-root chords (C, Am) and 6th-string-root chords (Em, E). This teaches you to choose the correct bass string consistently.

Structured Practice Plan (15–20 Minutes)

Use this plan when you want a clear routine. Adjust the time as needed, but keep the order: first clean shapes, then changes, then musical repetition.

1) Chord formation (5 minutes)

• 1 minute: Em (plant and check)
• 1 minute: E (plant and check)
• 1.5 minutes: Am (plant and check)
• 1.5 minutes: C (plant and check)

2) Two-chord changes (7 minutes)

• 3 minutes: Am ↔ C (slow, no rushing; keep guide fingers down)
• 2 minutes: Em ↔ E (only finger 1 moves)
• 2 minutes: C ↔ easy G (pre-shape, land together)

3) Progression practice (3–8 minutes)

• Choose one progression from the list and repeat it many times with a steady arpeggio.
• If a change fails, stop and isolate only that change for 30 seconds, then return to the progression.

Troubleshooting Chord Changes (What to Do When It Falls Apart)

Problem: the change is late and the rhythm collapses

• Slow down and add a planned pause after the last note of the pattern.
• Reduce the right-hand pattern to fewer notes (for example, Bass-2-1) so the left hand has more time.
• Practice the left-hand change silently: move between shapes without plucking, aiming for coordinated landing.

Problem: fingers lift too high and miss the strings

• Practice “hover changes”: after releasing a chord, keep fingertips close to the strings (a few millimeters) as you move.
• Use guide fingers whenever possible; even one finger staying down reduces the urge to lift the whole hand.

Problem: the chord is correct, but one string is muted after the change

• Identify which string is muted by plucking one string at a time.
• Look for the most common cause: a finger leaning into a neighboring string during the transition.
• Fix the transition, not just the final chord: practice moving slowly into the chord while watching the finger that causes the mute.

Problem: you can do it slowly, but it fails when you speed up

• Use “speed bursts”: two slow changes, then one slightly faster change, then back to slow. Keep accuracy as the priority.
• Reduce motion: check whether fingers are traveling far away from the fretboard during the change.
• Keep the same right-hand pattern while increasing speed; changing patterns at the same time often causes confusion.