![]() This pattern is exactly the same for every key so now your number should look like this Then if you refer to your chords in G you’ll notice that chords 1 (G) 4 (C) & 5 (D) are all major and 2 3 & 6 are all minor (Am, Bm, Em). Don’t worry about any flats, sharps, or even major or minor chords at this stage, just think alphabet. To do this write 1 – 7 across the top of the chord chart and then list out the letters of the chords in Bb 1-7 as below. Next we need to know the chord numbers in the key of Bb. ![]() Technically the chord we play is a Bm but often, particularly when progressing towards a C chord we use a G/B (1/3 chord) instead which sounds a bit more major and lighter. ![]() Similarly another popular substitution is when we hit the 3rd note in the key as a bass note. Again I’m sure many of you have seen this countless times in songs in the key of G. Notice also that if a song uses a 7th bass note the associated chord is technically a diminished chord (F#dim) but that sounds quite dark, so in pop based music we often instead use the 5th chord in the key (D) in conjunction with the 7th bass note (F#) so our 7th chord becomes D/F# instead. So as long as the song stays in key then those seven notes also give us seven bass notes to play with from which we build our chords in the key. Most songs take in four or five chords but remember the major scale (do re mi etc) always has seven notes from which we get notes for our melody lines. If you’ve not done any chord theory before you’ll probably recognise how familiarly grouped these chords are in songs in G. Next, list those chords out in number order so G looks like this. I generally recommend G but any key that you are most familiar with all the typical chords will do. To transpose this into something easier to play we need to start with a key you are familiar with on guitar. Let’s say we have a song in the key of Bb with a few tricky chords as per the chart below. Even if you’re not au fait with Nashville or chord theory it’s a straightforward process so if that’s you try giving this idea a go. I work with a lot of players who encounter this kind of thing on a weekly basis and rather than trying to struggle through on barre chords I encourage them to transpose the chart using a familiar key, a capo and the Nashville Numbering System. You are an acoustic guitarist working with a worship leading keyboard player and are asked to play songs in non guitar friendly keys but you are only presented with a chord chart in the keyboard based keys like Bb and Eb and F. We’ve had some emails asking us to go over the technique again (it’s covered in detail on our Intermediate Acoustic Guitar Course and our new Capo Positioning & Transposing for Guitar Course) so here is a quick overview. Here at Musicademy we ran a training day recently and one of the most popular topics in the guitar seminar was about transposing using a capo. Otherwise known as “Which fret does the capo go on?”
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