%% =============================================================
%%  Guitar Chord Reference --- Comprehensive Visual Guide
%%  Standard Tuning: E A D G B e
%% =============================================================
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\fancyfoot[C]{\small\textcolor{mygray}{Standard Tuning (low to high):
  \textbf{E\;--\;A\;--\;D\;--\;G\;--\;B\;--\;e}}}

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% ====================================================================
%  CHORD DIAGRAM MACRO
% ====================================================================
\def\MUTE{x}
\def\OPEN{o}

\newcommand{\chord}[5]{%
  \begin{tikzpicture}[x=0.40cm, y=0.40cm, baseline=(cname.base)]
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        at (0.45,-1.0) {\SF};
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    \foreach \s in {1,...,6}{\draw[color=black!50, thin] (\s,-0.5) -- (\s,-4.5);}
    \foreach \f in {0,...,4}{\draw[color=black!50, thin] (1,{-0.5-\f}) -- (6,{-0.5-\f});}
    \ifblank{#3}{}{%
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        \ifx\TI\MUTE
          \node[font=\normalsize, color=black!65] at (\SI, 0.08){$\times$};%
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          \node[font=\normalsize, color=navy!80] at (\SI, 0.08){$\circ$};%
        \fi}}%
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          (\LO,{-\BF}) -- (\HI,{-\BF});}}%
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  \end{tikzpicture}%
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% Chord + staff wrapper
\newcommand{\cw}[2]{%
  \parbox[b]{2.75cm}{\centering
    #2\newline
    \includegraphics[width=1.90cm]{#1_t.cropped}%
  }%
}

% Centred row of up to 6 chord+staff cells
\newenvironment{chordrow}{%
  \begin{center}\setlength{\tabcolsep}{0.20em}%
  \begin{tabular}{cccccc}%
}{%
  \end{tabular}\end{center}%
}

% ====================================================================
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    {Guitar Chord Reference};
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    {A Comprehensive Visual Guide
     \quad Standard Tuning: E -- A -- D -- G -- B -- e};
  \node[anchor=north west, white!60!navy, font=\normalsize]
    at ([xshift=1.7cm, yshift=-3.0cm]current page.north west)
    {Theory (A -- G) $\cdot$ Open chords $\cdot$ Barre chords $\cdot$
     7ths $\cdot$ Sus $\cdot$ Power $\cdot$ Add9 $\cdot$ Aug $\cdot$ Dim
     $\cdot$ 9ths $\cdot$ Slash chords $\cdot$ Blues};
\end{tikzpicture}

\vspace*{5.4cm}

% ---- Introduction --------------------------------------------------
\noindent
This guide is a self-contained reference for guitarists at any level,
from the first open chord to complex jazz voicings.
It is organised in three parts.

\medskip
\noindent
The \textbf{theory chapter}
(pages~\pageref{deb-theorie}--\pageref{fin-theorie}) explains how chord
symbols work: what the letters and suffixes mean, and how every chord
type is built from a scale.
Each of the seven natural roots (A through G) gets its own table,
with close-position staff notation in the treble-8 clef standard
to guitar.

\medskip
\noindent
The \textbf{chord diagram sections}
(pages~\pageref{deb-diagrammes}--\pageref{fin-diagrammes}) provide
fingering diagrams and staff notation for eighty voicings
in standard tuning: open major and minor chords, dominant and major
seventh chords, suspended and power chords, open-string drone chords,
the movable barre shapes and the fretboard notes that place them,
add9, augmented, diminished, extended and slash chords, and the
diatonic chords of C major, with the Roman numerals that transpose any
progression to a new key and the 12-bar blues.

\medskip
\noindent
The \textbf{practical sections}
(pages~\pageref{deb-pratique}--\pageref{fin-pratique}) bridge theory and
playing: a primer on strumming patterns and rhythm notation, four
graded songs (beginner to intermediate) with chord grids and
picking patterns, and a set of technique tips for cleaner fretting,
smoother chord changes and better barre chords.

\medskip
\noindent
All diagrams assume \textbf{standard tuning}
(low to high: E -- A -- D -- G -- B -- e).
Staff notation uses the \textbf{treble-8 clef} (sounds one octave
below written), which is the international standard for guitar.

\clearpage
\thispagestyle{empty}
{\small\tableofcontents}
\clearpage

% ====================================================================
\section{How to Read Chord Diagrams}

\begin{mdframed}[backgroundcolor=lightnavy, linecolor=navy,
                 linewidth=0.8pt, innerleftmargin=10pt,
                 innerrightmargin=10pt, innertopmargin=8pt,
                 innerbottommargin=8pt]
\begin{minipage}[t]{0.55\linewidth}\small
Each diagram shows the guitar neck as seen from the front.
Strings are \textbf{vertical} (low E at left, high e at right);
frets are \textbf{horizontal}.
\begin{itemize}[nosep, leftmargin=1.3em]
  \item \textbf{Thick top bar} = the nut (open-position chords)
  \item \textbf{Number at left} = starting fret (chords played higher up the neck)
  \item \textbf{Filled circles} = press here with your fingertip
  \item \textbf{Thick round bar} = barre (one finger across multiple strings)
  \item {\large$\circ$} above string = play it \emph{open} (unfretted)
  \item {\large$\times$} above string = mute / do not play
\end{itemize}
\smallskip
The \textbf{staff notation} below each diagram uses the \textit{treble-8} clef
--- standard for guitar. Notes are written an octave higher than they sound;
the ``8'' below the clef is a reminder to read them down one octave.
Finger numbers: \textbf{1}=index\ \textbf{2}=middle\
\textbf{3}=ring\ \textbf{4}=pinky.
\end{minipage}%
\hfill
\begin{minipage}[t]{0.38\linewidth}\centering\small
\textit{Example: C major (x32010)}\\[0.4em]
\cw{C}{\chord{C major}{1}{1/x,4/o,6/o}{}{2/3,3/2,5/1}}
\end{minipage}
\end{mdframed}

% ====================================================================
\section{Chord Theory: Chord Families A through G}
\label{deb-theorie}

\noindent
A chord symbol has two parts: a \textbf{root} (the letter name)
and a \textbf{quality descriptor} that specifies the interval structure.
The tables below show every chord type for each of the seven natural roots
\textbf{A, B, C, D, E, F, G}.
Formulas use \emph{scale-degree numbers} with accidentals
($\flat$ = lower by 1 semitone, $\sharp$ = raise by 1 semitone).
The \textbf{Staff} column shows the chord in close position using the
treble-8 clef; guitar diagrams on later pages show practical voicings
on the fretboard.

\smallskip

\input{theory_chapter}
\label{fin-theorie}

% ====================================================================
\newpage
\section{Open-Position Major Chords}
\label{deb-diagrammes}

\begin{chordrow}
\cw{E}{\chord{E}{1}{1/o,5/o,6/o}{}{2/2,3/2,4/1}} &
\cw{A}{\chord{A}{1}{1/x,2/o,6/o}{}{3/2,4/2,5/2}} &
\cw{D}{\chord{D}{1}{1/x,2/x,3/o}{}{4/2,5/3,6/2}} &
\cw{G}{\chord{G}{1}{3/o,4/o,5/o}{}{1/3,2/2,6/3}} &
\cw{C}{\chord{C}{1}{1/x,4/o,6/o}{}{2/3,3/2,5/1}} &
\cw{F}{\chord{F}{1}{}{1/6/1}{2/3,3/3,4/2}}
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{E} 022100\quad \textbf{A} x02220\quad \textbf{D} xx0232\quad
\textbf{G} 320003\quad \textbf{C} x32010\quad \textbf{F} 133211 (barre at fret~1)}

% ====================================================================
\section{Open-Position Minor Chords}

\begin{chordrow}
\cw{Em}{\chord{Em}{1}{1/o,4/o,5/o,6/o}{}{2/2,3/2}} &
\cw{Am}{\chord{Am}{1}{1/x,2/o,6/o}{}{3/2,4/2,5/1}} &
\cw{Dm}{\chord{Dm}{1}{1/x,2/x,3/o}{}{4/2,5/3,6/1}} &
\cw{Fm}{\chord{Fm}{1}{}{1/6/1}{2/3,3/3}} &
\cw{Bm}{\chord{Bm}{2}{1/x}{2/6/1}{3/3,4/3,5/2}} & \\
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{Em} 022000\quad \textbf{Am} x02210\quad \textbf{Dm} xx0231\quad
\textbf{Fm} 133111 (barre at 1)\quad \textbf{Bm} x24432 (barre at 2)}

% ====================================================================
\section{Dominant 7th Chords}
\noindent{\small 1 -- 3 -- 5 -- $\flat$7: bluesy and tense, naturally resolving to the tonic.}\smallskip

\begin{chordrow}
\cw{E7}{\chord{E7}{1}{1/o,3/o,5/o,6/o}{}{2/2,4/1}} &
\cw{A7}{\chord{A7}{1}{1/x,2/o,4/o,6/o}{}{3/2,5/2}} &
\cw{D7}{\chord{D7}{1}{1/x,2/x,3/o}{}{4/2,5/1,6/2}} &
\cw{G7}{\chord{G7}{1}{3/o,4/o,5/o}{}{1/3,2/2,6/1}} &
\cw{C7}{\chord{C7}{1}{1/x,6/o}{}{2/3,3/2,4/3,5/1}} &
\cw{B7}{\chord{B7}{1}{1/x,5/o}{}{2/2,3/1,4/2,6/2}}
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{E7} 020100\quad \textbf{A7} x02020\quad \textbf{D7} xx0212\quad
\textbf{G7} 320001\quad \textbf{C7} x32310\quad \textbf{B7} x21202}

% ====================================================================
\section{Major 7th Chords (maj7)}
\noindent{\small 1 -- 3 -- 5 -- 7: smooth, dreamy and jazzy.}\smallskip

\begin{chordrow}
\cw{Cmaj7}{\chord{Cmaj7}{1}{1/x,4/o,5/o,6/o}{}{2/3,3/2}} &
\cw{Dmaj7}{\chord{Dmaj7}{1}{1/x,2/x,3/o}{}{4/2,5/2,6/2}} &
\cw{Emaj7}{\chord{Emaj7}{1}{1/o,5/o,6/o}{}{2/2,3/1,4/1}} &
\cw{Amaj7}{\chord{Amaj7}{1}{1/x,2/o,6/o}{}{3/2,4/1,5/2}} &
\cw{Gmaj7}{\chord{Gmaj7}{1}{3/o,4/o,5/o}{}{1/3,2/2,6/2}} &
\cw{Fmaj7}{\chord{Fmaj7}{1}{1/x,2/x,6/o}{}{3/3,4/2,5/1}}
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{Cmaj7} x32000\quad \textbf{Dmaj7} xx0222\quad \textbf{Emaj7} 021100\quad
\textbf{Amaj7} x02120\quad \textbf{Gmaj7} 320002\quad \textbf{Fmaj7} xx3210}

% ====================================================================
\section{Minor 7th Chords (m7)}
\noindent{\small 1 -- $\flat$3 -- 5 -- $\flat$7: cornerstone of jazz, soul and R\&B.}\smallskip

\begin{chordrow}
\cw{Em7}{\chord{Em7}{1}{1/o,3/o,4/o,5/o,6/o}{}{2/2}} &
\cw{Am7}{\chord{Am7}{1}{1/x,2/o,4/o,6/o}{}{3/2,5/1}} &
\cw{Dm7}{\chord{Dm7}{1}{1/x,2/x,3/o}{}{4/2,5/1,6/1}} &
\cw{Bm7}{\chord{Bm7}{2}{1/x}{2/6/1}{3/3,5/2}} & & \\
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{Em7} 020000\quad \textbf{Am7} x02010\quad \textbf{Dm7} xx0211\quad
\textbf{Bm7} x24232 (barre at 2, variant shown)}

% ====================================================================
\section{Suspended Chords (sus2, sus4)}
\noindent{\small The 3rd is replaced by a 2nd or 4th: harmony is open and unresolved.}\smallskip

\begin{chordrow}
\cw{Dsus2}{\chord{Dsus2}{1}{1/x,2/x,3/o,6/o}{}{4/2,5/3}} &
\cw{Dsus4}{\chord{Dsus4}{1}{1/x,2/x,3/o}{}{4/2,5/3,6/3}} &
\cw{Asus2}{\chord{Asus2}{1}{1/x,2/o,5/o,6/o}{}{3/2,4/2}} &
\cw{Asus4}{\chord{Asus4}{1}{1/x,2/o,6/o}{}{3/2,4/2,5/3}} &
\cw{Esus4}{\chord{Esus4}{1}{1/o,5/o,6/o}{}{2/2,3/2,4/2}} & \\
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{Dsus2} xx0230\quad \textbf{Dsus4} xx0233\quad \textbf{Asus2} x02200\quad
\textbf{Asus4} x02230\quad \textbf{Esus4} 022200}

% ====================================================================
\section{Power Chords (5th Chords)}
\noindent{\small 1 -- 5 only, no 3rd: neither major nor minor. Essential in rock and metal.}\smallskip

\begin{chordrow}
\cw{E5}{\chord{E5}{1}{1/o,4/x,5/x,6/x}{}{2/2,3/2}} &
\cw{A5}{\chord{A5}{1}{1/x,2/o,5/x,6/x}{}{3/2,4/2}} &
\cw{D5}{\chord{D5}{1}{1/x,2/x,3/o,6/x}{}{4/2,5/3}} &
\cw{G5}{\chord{G5}{3}{4/x,5/x,6/x}{}{1/1,2/3,3/3}} &
\cw{C5}{\chord{C5}{3}{1/x,5/x,6/x}{}{2/1,3/3,4/3}} & \\
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{E5} 022xxx\quad \textbf{A5} x022xx\quad \textbf{D5} xx023x\quad
\textbf{G5} 355xxx (root on string~6)\quad
\textbf{C5} x355xx (root on string~5)}

\smallskip
\noindent{\small
G5 and C5 are movable: the index finger holds the root, the ring and
little fingers the 5th and the octave, two frets higher on the next two
strings. Slide the shape to change the root (see ``Finding the Root'').
Leaving out the octave gives the two-string version, root and 5th only,
lighter and quicker to move.}

% ====================================================================
\section{Open-String Drone Chords}
\noindent{\small
Play the octave shape of C5 on strings 5, 4 and 3, and let strings 2
and 1 ring open: the open B and E sound above every chord, turning a
plain power chord into a richer colour. Sliding that one shape to the
notes of the G major scale gives a family of chords for G major and
E minor, whose scale holds both open notes.}\smallskip

\begin{chordrow}
\cw{Asus2}{\chord{Asus2}{1}{1/x,2/o,5/o,6/o}{}{3/2,4/2}} &
\cw{Bsus4_d}{\chord{Bsus4}{2}{1/x,5/o,6/o}{}{2/1,3/3,4/3}} &
\cw{Cmaj7_d}{\chord{Cmaj7}{3}{1/x,5/o,6/o}{}{2/1,3/3,4/3}} &
\cw{E5_d}{\chord{E5}{7}{1/x,5/o,6/o}{}{2/1,3/3,4/3}} &
\cw{Fs7sus4_d}{\chord{F$\sharp$7sus4}{9}{1/x,5/o,6/o}{}{2/1,3/3,4/3}} &
\cw{G6_d}{\chord{G6}{10}{1/x,5/o,6/o}{}{2/1,3/3,4/3}}
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{Asus2} x02200\quad \textbf{Bsus4} x24400\quad
\textbf{Cmaj7} x35500\quad \textbf{E5} x79900\quad
\textbf{F$\sharp$7sus4} x9\,11\,11\,0\,0\quad
\textbf{G6} x\,10\,12\,12\,0\,0\quad
Each chord's name comes from the root on string~5 and from what the two
open strings add to it.}

% ====================================================================
\section{Finding the Root: Notes on Strings 6 and 5}

\noindent{\small
A movable shape names no chord until its root is placed. The barre
shapes that follow carry their root on string~6 or on string~5, under
the index finger: find the root on that string, and the fret it falls
on is where the shape goes.}

\medskip
\begin{center}
\begin{tikzpicture}[x=1.15cm, y=0.62cm]
  % Cordes et frettes
  \foreach \y in {0,1}{\draw[black!45, thin] (0.5,\y) -- (12.5,\y);}
  \draw[line width=2.5pt] (0.5,-0.4) -- (0.5,1.4);
  \foreach \k in {1,...,12}{\draw[black!35, thin] (\k+0.5,-0.4) -- (\k+0.5,1.4);}
  % Libellés des cordes
  \node[anchor=east, font=\small\bfseries, color=navy] at (-0.45,0) {String 6 (E)};
  \node[anchor=east, font=\small\bfseries, color=navy] at (-0.45,1) {String 5 (A)};
  % Notes naturelles : pastilles ; altérées : en gris
  \foreach \k/\n in {0/E,1/F,3/G,5/A,7/B,8/C,10/D,12/E}{%
    \fill[navy] (\k,0) circle (0.24cm);
    \node[font=\scriptsize\bfseries, white] at (\k,0) {\n};}
  \foreach \k/\n in {0/A,2/B,3/C,5/D,7/E,8/F,10/G,12/A}{%
    \fill[navy] (\k,1) circle (0.24cm);
    \node[font=\scriptsize\bfseries, white] at (\k,1) {\n};}
  \foreach \k/\a/\b in {2/F/G,4/G/A,6/A/B,9/C/D,11/D/E}{%
    \node[font=\tiny, color=mygray, fill=white, inner sep=1pt]
      at (\k,0) {\a$\sharp$/\b$\flat$};}
  \foreach \k/\a/\b in {1/A/B,4/C/D,6/D/E,9/F/G,11/G/A}{%
    \node[font=\tiny, color=mygray, fill=white, inner sep=1pt]
      at (\k,1) {\a$\sharp$/\b$\flat$};}
  % Numéros de frette, en gras là où le manche porte un repère
  \foreach \k in {0,1,2,4,6,8,10,11}{%
    \node[font=\scriptsize, color=mygray] at (\k,-0.95) {\k};}
  \foreach \k in {3,5,7,9,12}{%
    \node[font=\scriptsize\bfseries, color=navy] at (\k,-0.95) {\k};}
  \node[font=\scriptsize, color=mygray, anchor=east] at (-0.45,-0.95) {Fret};
\end{tikzpicture}
\end{center}

\noindent{\small\color{mygray}
Each fret is a semitone. Between two natural notes lies one fret, the
sharp of the lower note or the flat of the upper, except from E to F
and from B to C, which are a semitone apart. Bold fret numbers carry
a position marker on most guitars. At fret~12 the names start over,
an octave higher. String~1, the high e, has the same notes as
string~6; the same note on string~6 is always five frets higher than
on string~5.}

% ====================================================================
\section{Barre Chords --- E Shape (Root on String 6)}
\noindent{\small The open E, Em, E7, Em7 and Esus4 shapes moved up the
neck: the index finger barres all six strings and takes the place of the
nut, and the other fingers play the open shape one fret higher. The root
lies on string~6, under the barre.}\smallskip

\begin{chordrow}
\cw{F_E}{\chord{F}{1}{}{1/6/1}{2/3,3/3,4/2}} &
\cw{Fm_E}{\chord{Fm}{1}{}{1/6/1}{2/3,3/3}} &
\cw{F7_E}{\chord{F7}{1}{}{1/6/1}{2/3,4/2}} &
\cw{Fm7_E}{\chord{Fm7}{1}{}{1/6/1}{2/3}} &
\cw{Fsus4_E}{\chord{Fsus4}{1}{}{1/6/1}{2/3,3/3,4/3}} & \\
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{F} 133211\quad \textbf{Fm} 133111\quad \textbf{F7} 131211\quad
\textbf{Fm7} 131111\quad \textbf{Fsus4} 133311\quad
Slide the five together: barre at fret~3 for G, Gm, G7, Gm7, Gsus4;
at fret~5 for A, Am, A7\ldots}

% ====================================================================
\section{Barre Chords --- A Shape (Root on String 5)}
\noindent{\small The open A, Am, A7, Am7, Asus4 and Amaj7 shapes moved
up the neck: the index finger barres strings 5 to 1 and the low E string
stays silent. The root lies on string~5, under the barre. In the major
shape many players flatten the ring finger across strings 4 to 2 instead
of using three fingers.}\smallskip

\begin{chordrow}
\cw{Bb_A}{\chord{B$\flat$}{1}{1/x}{2/6/1}{3/3,4/3,5/3}} &
\cw{Bbm_A}{\chord{B$\flat$m}{1}{1/x}{2/6/1}{3/3,4/3,5/2}} &
\cw{Bb7_A}{\chord{B$\flat$7}{1}{1/x}{2/6/1}{3/3,5/3}} &
\cw{Bbm7_A}{\chord{B$\flat$m7}{1}{1/x}{2/6/1}{3/3,5/2}} &
\cw{Bbsus4_A}{\chord{B$\flat$sus4}{1}{1/x}{2/6/1}{3/3,4/3,5/4}} &
\cw{Bbmaj7_A}{\chord{B$\flat$maj7}{1}{1/x}{2/6/1}{3/3,4/2,5/3}}
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{B$\flat$} x13331\quad \textbf{B$\flat$m} x13321\quad
\textbf{B$\flat$7} x13131\quad \textbf{B$\flat$m7} x13121\quad
\textbf{B$\flat$sus4} x13341\quad \textbf{B$\flat$maj7} x13231\quad
Barre at fret~3 for C, Cm, C7\ldots; at fret~5 for D, Dm, D7\ldots}

% ====================================================================
\section{Combining the Two Barre Shapes}
\noindent{\small
Every root can be played on string~6 or on string~5. Choosing, for each
chord, the shape whose root is nearest keeps the hand in one region of
the neck instead of jumping along it: here I -- vi -- ii -- V in C stays
between frets 3 and~7, the barre moving only between frets 3 and~5.}\smallskip

\begin{chordrow}
\cw{C_A}{\chord{C}{3}{1/x}{2/6/1}{3/3,4/3,5/3}} &
\cw{Am_E}{\chord{Am}{5}{}{1/6/1}{2/3,3/3}} &
\cw{Dm_A}{\chord{Dm}{5}{1/x}{2/6/1}{3/3,4/3,5/2}} &
\cw{G_E}{\chord{G}{3}{}{1/6/1}{2/3,3/3,4/2}} & & \\
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{C} x35553 (A shape)\quad \textbf{Am} 577555 (E shape)\quad
\textbf{Dm} x57765 (A shape)\quad \textbf{G} 355433 (E shape)\quad
With the seventh-chord shapes in the same places, the progression
becomes C -- Am7 -- Dm7 -- G7.}

% ====================================================================
\section{Added-Tone Chords (add9, add6)}
\noindent{\small Triad + extra colour note (9th or 6th), without a 7th.}\smallskip

\begin{chordrow}
\cw{Cadd9}{\chord{Cadd9}{1}{1/x,4/o}{}{2/3,3/2,5/3,6/3}} &
\cw{Dadd9}{\chord{Dadd9}{2}{1/x,6/o}{}{2/4,3/3,4/1,5/2}} &
\cw{Eadd9}{\chord{Eadd9}{1}{1/o,5/o,6/o}{}{2/2,3/4,4/1}} &
\cw{D6}{\chord{D6}{1}{1/x,2/x,3/o,5/o}{}{4/2,6/2}} &
\cw{A6}{\chord{A6}{1}{1/x,2/o}{}{3/2,4/2,5/2,6/2}} & \\
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{Cadd9} x32033\quad \textbf{Dadd9} x54230\quad \textbf{Eadd9} 024100\quad
\textbf{D6} xx0202\quad \textbf{A6} x02222}

\smallskip
\noindent{\small
In a major key, an add9 can replace the I, IV or V chord: the added
note, a whole step above the root, then belongs to the key as well.
Playing Cadd9 for C, or Gadd9 for G, brightens a progression without
changing it.}

% ====================================================================
\section{Augmented Chords (aug)}
\noindent{\small 1 -- 3 -- $\sharp$5: eerie and tense. Symmetrical --- repeats every 4 semitones.}\smallskip

\begin{chordrow}
\cw{Eaug}{\chord{Eaug}{1}{1/o,6/o}{}{2/3,3/2,4/1,5/1}} &
\cw{Aaug}{\chord{Aaug}{1}{1/x,2/o}{}{3/3,4/2,5/2,6/1}} &
\cw{Caug}{\chord{Caug}{1}{1/x,6/o}{}{2/3,3/2,4/1,5/1}} & & & \\
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{Eaug} 032110\quad \textbf{Aaug} x03221\quad \textbf{Caug} x32110\quad
Eaug = G$\sharp$aug = Caug (same pitch-class set).}

% ====================================================================
\section{Diminished Chords (dim, dim7, \texorpdfstring{m7$\flat$5}{m7b5})}
\noindent{\small Stacked minor 3rds. A dim7 repeats every 3 semitones.
The half-diminished chord m7$\flat$5, also written \o, keeps the
diminished triad but takes a minor 7th instead: it is the vii chord of a
major key, Bm7$\flat$5 in C, and the ii chord of a minor key.}\smallskip

\begin{chordrow}
\cw{Bdim}{\chord{Bdim}{1}{1/x,6/x}{}{2/2,3/3,4/4,5/3}} &
\cw{Edim7}{\chord{Edim7}{1}{1/o,4/o,6/x}{}{2/1,3/2,5/2}} &
\cw{Adim7}{\chord{Adim7}{1}{1/x,2/o}{}{3/1,4/2,5/1,6/2}} &
\cw{Bm7b5}{\chord{Bm7$\flat$5}{1}{1/x,6/x}{}{2/2,3/3,4/2,5/3}} &
\cw{Em7b5}{\chord{Em7$\flat$5}{1}{1/x,2/x}{}{3/2,4/3,5/3,6/3}} & \\
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{Bdim} x2343x\quad \textbf{Edim7} 01202x\quad \textbf{Adim7} x01212\quad
\textbf{Bm7$\flat$5} x2323x\quad \textbf{Em7$\flat$5} xx2333\quad
Shift a dim7 up 3 frets to get the same chord on a new root.}

% ====================================================================
\section{Extended and Altered Chords (9, 13, 7\texorpdfstring{$\sharp$}{\#}9)}
\noindent{\small
Extensions carry the stack of thirds past the 7th: the 9th is the 2nd an
octave up, the 11th the 4th, the 13th the 6th. A 9, 11 or 13 chord
contains the 7th; without it, the chord is an add chord or a 6. Six
strings and four fingers rarely allow every note of the larger chords.
A 13th chord leaves out the 11th, which clashes with the major 3rd;
beyond that, the 5th goes first, then the 9th. The 3rd and the 7th
stay, since they decide the quality, and so does the highest
extension, which names the chord.}\smallskip

\begin{chordrow}
\cw{E9}{\chord{E9}{1}{1/o,3/o,5/o}{}{2/2,4/1,6/2}} &
\cw{C9}{\chord{C9}{1}{1/x}{4/6/3}{2/3,3/2}} &
\cw{Em9}{\chord{Em9}{1}{1/o,4/o}{}{2/2,3/2,5/3,6/2}} &
\cw{Cmaj9}{\chord{Cmaj9}{1}{1/x,6/o}{}{2/3,3/2,4/4,5/3}} &
\cw{E13}{\chord{E13}{1}{1/o,3/o}{}{2/2,4/1,5/2,6/2}} &
\cw{E7s9}{\chord{E7$\sharp$9}{6}{1/x,6/x}{}{2/2,3/1,4/2,5/3}}
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{E9} 020102\quad \textbf{C9} x32333\quad \textbf{Em9} 022032\quad
\textbf{Cmaj9} x32430\quad \textbf{E13} 020122\quad
\textbf{E7$\sharp$9} x7678x\quad
C9 is movable, root on string~5. E7$\sharp$9, a staple of rock and funk,
sets its sharp 9th, F double sharp (sounding as G), against the major
3rd G$\sharp$.}

\smallskip
\noindent{\small
Within a major key, extended chords also serve as substitutes, since their
added notes stay in the key: a dominant 7th can become a 9 or a 13; a
minor chord an m7, or an m9 on ii and vi but not on iii, whose 9th lies
outside the key; a major chord on I or IV a maj7 or a maj9.}

% ====================================================================
\section{Slash Chords: Inversions and Other Bass Notes}
\noindent{\small
A slash names the bass: G/B is a G chord whose lowest note is B. When
the bass is a chord tone, the chord is \emph{inverted}: 3rd in the bass
in the first inversion (G/B, D/F$\sharp$, C/E), 5th in the second
(C/G). When it is not, the bass adds a note of its own: F/G, an F triad
over G, sounds as a gentle G dominant with a suspended 4th, and still
leads to C. Strings below the bass must stay silent.}\smallskip

\begin{chordrow}
\cw{G_over_B}{\chord{G/B}{1}{1/x,3/o,4/o,5/o}{}{2/2,6/3}} &
\cw{D_over_Fs}{\chord{D/F$\sharp$}{1}{2/x,3/o}{}{1/2,4/2,5/3,6/2}} &
\cw{C_over_E}{\chord{C/E}{1}{1/o,4/o,6/o}{}{2/3,3/2,5/1}} &
\cw{C_over_G}{\chord{C/G}{1}{4/o,6/o}{}{1/3,2/3,3/2,5/1}} &
\cw{Am_over_G}{\chord{Am/G}{1}{2/x,6/o}{}{1/3,3/2,4/2,5/1}} &
\cw{F_over_G}{\chord{F/G}{1}{2/x}{5/6/1}{1/3,3/3,4/2}}
\end{chordrow}
\noindent{\small\color{mygray}%
\textbf{G/B} x20003\quad \textbf{D/F$\sharp$} 2x0232 (thumb over the
neck on string~6)\quad \textbf{C/E} 032010\quad \textbf{C/G} 332010\quad
\textbf{Am/G} 3x2210\quad \textbf{F/G} 3x3211}

\smallskip
\noindent{\small
Slash chords let the bass walk by step while the harmony changes above
it. In C, the bass descends C -- B -- A -- G -- F -- E, then rises to G
and resolves on C:}

\begin{center}\small\setlength{\tabcolsep}{0.9em}\renewcommand{\arraystretch}{1.4}
\begin{tabular}{|c|c|c|c|c|c|c|c|}
\hline
\textbf{C} & \textbf{G/B} & \textbf{Am} & \textbf{Am/G} &
\textbf{F} & \textbf{C/E} & \textbf{F/G} & \textbf{C} \\
\hline
\end{tabular}
\end{center}

\noindent{\small\color{mygray}
In G, G -- D/F$\sharp$ -- Em walks the bass G -- F$\sharp$ -- E the
same way.}

% ====================================================================
\section{Diatonic Chords and Roman Numeral Notation}

\noindent
Tonal music uses three complementary notation systems for chords.
Being able to move between them is an essential skill:

\medskip
\begin{center}\small\setlength{\tabcolsep}{0.7em}
\renewcommand{\arraystretch}{1.4}
\begin{tabular}{p{3.2cm}p{9cm}}
\toprule
\textbf{System} & \textbf{Description} \\
\midrule
\textbf{Chord name} \newline (e.g.\ \textit{G, Am, Dm})
  & Gives the absolute pitch of the root and the chord quality
    (see the chord theory sections A--G).
    Useful for reading a chart or score. \\
\addlinespace
\textbf{Scale degrees} \newline (e.g.\ \textit{1, $\flat$3, 5})
  & Describes the \emph{internal structure} of a chord regardless of key.
    Used in the formula tables of this guide. \\
\addlinespace
\textbf{Roman numerals} \newline (e.g.\ \textit{I, IV, V, vi})
  & Indicates the \emph{position} of a chord within a given key:
    the numeral identifies the scale degree on which the chord is built.
    Upper case = major chord; lower case = minor chord;
    $^\circ$ = diminished chord.
    Useful for transposing a progression to any key. \\
\bottomrule
\end{tabular}
\end{center}

\subsection{The seven diatonic chords of a major key}

\noindent{\small
By stacking thirds on each degree of a major scale, we get seven chords
whose qualities always follow the same pattern:
\textbf{Maj -- min -- min -- Maj -- Maj -- min -- dim.}
The table below shows all three notations for the key of \textbf{C major}:}

\smallskip
\begin{chordrow}
\cw{C}{\chord{C}{1}{1/x,4/o,6/o}{}{2/3,3/2,5/1}} &
\cw{Dm}{\chord{Dm}{1}{1/x,2/x,3/o}{}{4/2,5/3,6/1}} &
\cw{Em}{\chord{Em}{1}{1/o,4/o,5/o,6/o}{}{2/2,3/2}} &
\cw{F}{\chord{F}{1}{}{1/6/1}{2/3,3/3,4/2}} &
\cw{G}{\chord{G}{1}{3/o,4/o,5/o}{}{1/3,2/2,6/3}} &
\cw{Am}{\chord{Am}{1}{1/x,2/o,6/o}{}{3/2,4/2,5/1}}
\end{chordrow}

\begin{center}\small\setlength{\tabcolsep}{0.6em}
\renewcommand{\arraystretch}{1.4}
\begin{tabular}{lccccccc}
\toprule
  & \textbf{I} & \textbf{ii} & \textbf{iii}
  & \textbf{IV} & \textbf{V} & \textbf{vi} & \textbf{vii}$^\circ$ \\
\midrule
\textit{C major} & C  & Dm  & Em   & F  & G  & Am  & Bdim  \\
\textit{G major} & G  & Am  & Bm   & C  & D  & Em  & F$\sharp$dim \\
\textit{D major} & D  & Em  & F$\sharp$m & G  & A  & Bm  & C$\sharp$dim \\
\textit{A major} & A  & Bm  & C$\sharp$m & D  & E  & F$\sharp$m & G$\sharp$dim \\
\textit{E major} & E  & F$\sharp$m & G$\sharp$m & A  & B  & C$\sharp$m & D$\sharp$dim \\
\bottomrule
\end{tabular}
\end{center}

\smallskip
\noindent{\small\color{mygray}
\textit{How to use this table:} identify the Roman numeral pattern of a
progression, then read across the row for the desired key.
Example: \textbf{I -- V -- vi -- IV} in C = C -- G -- Am -- F;
in G = G -- D -- Em -- C; in D = D -- A -- Bm -- G.}

\subsection{Common progressions and their Roman numeral patterns}

\noindent{\small
The progressions below appear in thousands of songs.
The column \textit{In C} gives the literal chord names;
\textit{Song} shows the actual key used in the recording.}

\medskip
\begin{center}\small\setlength{\tabcolsep}{0.55em}
\renewcommand{\arraystretch}{1.3}
\begin{tabular}{llll}
\toprule
\textbf{Roman pattern} & \textbf{In C}
  & \textbf{Song (key)} & \textbf{Feel} \\
\midrule
I -- IV -- V
  & C -- F -- G        & La Bamba (C)                   & Bright, driving \\
I -- V -- vi -- IV
  & C -- G -- Am -- F  & Let It Be (C)                  & Epic, universal \\
vi -- IV -- I -- V
  & Am -- F -- C -- G  & Zombie (Em)                    & Melancholic, rock \\
i -- VII -- VI -- VII
  & Am -- G -- F -- G  & All Along the Watchtower (C$\sharp$m) & Dramatic \\
I -- V -- vi -- iii -- IV
  & C -- G -- Am -- Em -- F & Pachelbel's Canon          & Timeless, classical \\
ii -- V -- I
  & Dm -- G -- C       & Jazz standard (C)              & Tension$\to$release \\
\bottomrule
\end{tabular}
\end{center}

\subsection{The 12-bar blues}

\noindent{\small
The basic 12-bar blues uses only I, IV and V, each as a dominant 7th,
even the I and the IV, which the major key would make major or major
7th. That clash between the key and the chords' flat 7ths is part
of the blues sound. In A, with three open chords:}

\begin{center}\small\setlength{\tabcolsep}{1.2em}\renewcommand{\arraystretch}{1.25}
\newcommand{\RN}[1]{{\scriptsize\color{mygray}#1}}
\begin{tabular}{|c|c|c|c|}
\hline
\textbf{A7} & \textbf{A7} & \textbf{A7} & \textbf{A7} \\
\RN{I7} & \RN{I7} & \RN{I7} & \RN{I7} \\
\hline
\textbf{D7} & \textbf{D7} & \textbf{A7} & \textbf{A7} \\
\RN{IV7} & \RN{IV7} & \RN{I7} & \RN{I7} \\
\hline
\textbf{E7} & \textbf{D7} & \textbf{A7} & \textbf{E7} \\
\RN{V7} & \RN{IV7} & \RN{I7} & \RN{V7} \\
\hline
\end{tabular}
\end{center}

\noindent{\small\color{mygray}
The last bar, V7, turns the form around to its start; on the final
pass, end on I7 instead. In E the same form uses E7, A7 and B7.}

% ====================================================================
\section{Chord Formula Quick Reference}

\begin{center}\small\setlength{\tabcolsep}{0.7em}
\renewcommand{\arraystretch}{1.35}
\begin{tabular}{llll}
\toprule
\textbf{Symbol suffix} & \textbf{Formula} &
\textbf{Semitone gaps} & \textbf{Character}\\
\midrule
(none) = Major      & 1 -- 3 -- 5              & +4, +3          & Bright, stable\\
m = Minor           & 1 -- $\flat$3 -- 5        & +3, +4          & Dark, melancholic\\
7 = Dom.\ 7th       & 1 -- 3 -- 5 -- $\flat$7   & +4, +3, +3      & Tense, bluesy\\
maj7                & 1 -- 3 -- 5 -- 7          & +4, +3, +4      & Dreamy, jazzy\\
m7                  & 1 -- $\flat$3 -- 5 -- $\flat$7 & +3, +4, +3 & Mellow, soulful\\
sus2                & 1 -- 2 -- 5              & +2, +5          & Open, floating\\
sus4                & 1 -- 4 -- 5              & +5, +2          & Tense, anticipating\\
5 = Power           & 1 -- 5                   & +7              & Raw, neutral\\
aug                 & 1 -- 3 -- $\sharp$5       & +4, +4          & Eerie, tense\\
dim                 & 1 -- $\flat$3 -- $\flat$5 & +3, +3          & Very tense\\
dim7                & 1 -- $\flat$3 -- $\flat$5 -- $\flat\flat$7 & +3,+3,+3 & Maximally tense\\
m7$\flat$5 = \o     & 1 -- $\flat$3 -- $\flat$5 -- $\flat$7 & +3, +3, +4 & Tense, jazzy\\
7sus4               & 1 -- 4 -- 5 -- $\flat$7   & +5, +2, +3      & Floating dominant\\
m6                  & 1 -- $\flat$3 -- 5 -- 6   & +3, +4, +2      & Bittersweet\\
add9                & 1 -- 3 -- 5 -- 9         & triad + 9th     & Colourful, modern\\
6                   & 1 -- 3 -- 5 -- 6         & triad + 6th     & Sweet, vintage\\
\bottomrule
\end{tabular}
\end{center}

\subsection{Extensions, alterations and slash chords}

\begin{center}\small\setlength{\tabcolsep}{0.7em}
\renewcommand{\arraystretch}{1.35}
\begin{tabular}{llll}
\toprule
\textbf{Symbol suffix} & \textbf{Formula} &
\textbf{Built as} & \textbf{Character}\\
\midrule
6/9   & 1 -- 3 -- 5 -- 6 -- 9                   & 6 + 9th          & Warm, open\\
9     & 1 -- 3 -- 5 -- $\flat$7 -- 9            & 7 + 9th          & Funky, soulful\\
m9    & 1 -- $\flat$3 -- 5 -- $\flat$7 -- 9     & m7 + 9th         & Smooth, lush\\
maj9  & 1 -- 3 -- 5 -- 7 -- 9                   & maj7 + 9th       & Airy\\
11    & 1 -- 3 -- 5 -- $\flat$7 -- 9 -- 11 & 9 + 11th; 3rd often left out & Suspended, gospel\\
m11   & 1 -- $\flat$3 -- 5 -- $\flat$7 -- 9 -- 11 & m9 + 11th      & Open, modal\\
13    & 1 -- 3 -- 5 -- $\flat$7 -- 9 -- 13      & 9 + 13th; no 11th & Rich, bluesy\\
7$\flat$9 & 1 -- 3 -- 5 -- $\flat$7 -- $\flat$9 & 7 + flat 9th    & Dark, pulls to a minor I\\
7$\sharp$9 & 1 -- 3 -- 5 -- $\flat$7 -- $\sharp$9 & 7 + sharp 9th  & Gritty, rock and funk\\
7$\sharp$5 = aug7 & 1 -- 3 -- $\sharp$5 -- $\flat$7 & aug + $\flat$7 & Restless\\
X/Y   & chord X, bass note Y                    & e.g.\ G/B, F/G   & Smooth bass lines\\
\bottomrule
\end{tabular}
\end{center}

\subsection{Reading an unfamiliar chord symbol}

\noindent{\small
A symbol reads from left to right: the root, the quality (m, maj, dim,
aug, sus), the highest extension (7, 9, 11, 13), any alteration
($\flat$9, $\sharp$9, $\flat$5, $\sharp$5), and the bass after a slash.
Its notes come from the major scale of the root and the formula above:
Cm7 is C -- E$\flat$ -- G -- B$\flat$, and D7$\sharp$9 is D -- F$\sharp$
-- A -- C -- E$\sharp$.
A chord too hard to finger can be simplified from the right: drop the
alteration, then the extensions down to the 7th chord, and if need be
down to the triad --- G13, G9, G7, G; F$\sharp$m11, F$\sharp$m7,
F$\sharp$m. The chord loses colour but keeps its place in the
progression, as long as its 3rd stays. With a bassist playing the
bass, the guitarist may also leave out the note after the slash.}

% ====================================================================
\label{fin-diagrammes}
\section{Strumming and Rhythm Basics}
\label{deb-pratique}

\noindent
\textbf{Strumming} is the act of sweeping the pick (or fingernails)
across several strings at once to produce a chord.
Two ingredients define a strumming pattern: the \textbf{time signature}
(how beats are grouped) and the \textbf{stroke direction}
(down or up) on each subdivision.

\subsection{Time signatures}

\begin{center}\small\setlength{\tabcolsep}{0.7em}\renewcommand{\arraystretch}{1.4}
\begin{tabular}{cll}
\toprule
\textbf{Sig.} & \textbf{Meaning} & \textbf{Feel / typical use} \\
\midrule
4/4 & 4 beats per bar, quarter note = 1 beat
    & Most pop, rock, blues --- the default \\
3/4 & 3 beats per bar
    & Waltz, ballads (e.g.\ ``Piano Man'' by Billy Joel) \\
6/8 & 6 eighth-note beats per bar, grouped 3+3
    & Compound feel; suits fingerpicking (e.g.\ ``House of the Rising Sun'') \\
\bottomrule
\end{tabular}
\end{center}

\subsection{Stroke notation}

\noindent
Strumming patterns in this guide use the following symbols:

\medskip
\begin{center}\small\setlength{\tabcolsep}{1.0em}\renewcommand{\arraystretch}{1.4}
\begin{tabular}{c>{\raggedright\arraybackslash}p{0.8\linewidth}}
\toprule
\textbf{Symbol} & \textbf{Meaning} \\
\midrule
\textbf{D} & Downstroke --- sweep from string 6 (low E) toward string 1 (high e) \\
\textbf{U} & Upstroke --- sweep from string 1 toward string 6 \\
\textbf{-} & Rest / lift --- do not strike the strings on this subdivision \\
\textbf{$\times$} & Choked strum --- touch the strings with the palm or fretting hand
                    to mute them just before or just as you strum \\
\bottomrule
\end{tabular}
\end{center}

\subsection{Counting subdivisions in 4/4}

\noindent
In 4/4 time, each beat can be divided into two eighth notes,
counted \textbf{1 and 2 and 3 and 4 and}.
Downstrokes fall on the numbered beats; upstrokes on the ``ands'':

\medskip
\begin{center}\small
\setlength{\tabcolsep}{0.0em}
\renewcommand{\arraystretch}{1.3}
\newcommand{\B}[1]{\textbf{#1}}  % bold beat
\begin{tabular}{*{8}{p{1.5cm}}}
\multicolumn{1}{c}{\B{1}} & \multicolumn{1}{c}{+}
& \multicolumn{1}{c}{\B{2}} & \multicolumn{1}{c}{+}
& \multicolumn{1}{c}{\B{3}} & \multicolumn{1}{c}{+}
& \multicolumn{1}{c}{\B{4}} & \multicolumn{1}{c}{+} \\
\hline
\multicolumn{1}{|c|}{\B{D}} & \multicolumn{1}{c|}{U}
& \multicolumn{1}{c|}{\B{D}} & \multicolumn{1}{c|}{U}
& \multicolumn{1}{c|}{\B{D}} & \multicolumn{1}{c|}{U}
& \multicolumn{1}{c|}{\B{D}} & \multicolumn{1}{c|}{U} \\
\hline
\end{tabular}\\[4pt]
{\color{mygray}\small All-eighth pattern: the simplest full 4/4 strum.}
\end{center}

\subsection{Common patterns}

\noindent
The table below shows the most widely used patterns.
Each cell is one eighth-note subdivision (``1 + 2 + 3 + 4 +'').
\textbf{Bold} = on-beat stroke; regular = off-beat (``and'') stroke.

\medskip
\begin{center}\small
\setlength{\tabcolsep}{0.55em}
\renewcommand{\arraystretch}{1.45}
\begin{tabular}{lccccccccl}
\toprule
\textbf{Pattern name} &
  \multicolumn{8}{c}{\textbf{Subdivisions: 1 + 2 + 3 + 4 +}} &
  \textbf{Used in} \\
\midrule
All down (4/4)
  & \textbf{D} & & \textbf{D} & & \textbf{D} & & \textbf{D} &
  & Folk, slow ballads \\
Basic 8ths
  & \textbf{D} & U & \textbf{D} & U & \textbf{D} & U & \textbf{D} & U
  & Pop, rock \\
Island
  & \textbf{D} & - & \textbf{D} & U & - & U & \textbf{D} & U
  & Horse With No Name, Wonderwall \\
Pop ``4-chord''
  & \textbf{D} & U & \textbf{D} & U & - & U & \textbf{D} & U
  & Most pop \\
\bottomrule
\end{tabular}
\end{center}

\smallskip
\noindent{\small\color{mygray}
\textit{Reading tip:} always tap your foot on beats 1, 2, 3, 4.
Downstrokes align with foot taps; upstrokes happen as the foot rises.
Start very slowly with a metronome and only increase tempo once
the pattern is automatic.}

\subsection{Dynamics and accents}

\noindent{\small
A flat sequence of D and U strokes sounds mechanical.
Two techniques add life:

\begin{itemize}[nosep, leftmargin=1.4em]
  \item \textbf{Accent beats 2 and 4.} In most Western popular music,
    the snare drum lands on beats 2 and 4 (the ``backbeat'').
    Strumming those beats slightly harder locks you in with a drummer.
  \item \textbf{Vary string coverage.} Downstrokes can sweep all six strings
    for power, while upstrokes often catch only the top two or three ---
    this lightens the texture and makes changes feel more natural.
\end{itemize}}

% ====================================================================
\section{Songs to Play}

\noindent
The four songs below cover progressively harder ground.
Each entry shows the chord diagrams, then a bar-by-bar progression grid,
then the strumming or picking pattern and a focused playing tip.
\textbf{D} = downstroke, \textbf{U} = upstroke,
\textbf{-} = rest, \textbf{$\times$} = choked strum.

% ----------------------------------------------------------------
\subsection[Horse With No Name --- America (1971)]{1. Horse With No Name --- America (1971)
  \hfill\small\normalfont Level: beginner}

\noindent{\small
Only two chords, repeated throughout.
\textbf{Em} and \textbf{D6} alternate every two bars.
Key: E minor.}

\medskip
\begin{center}\setlength{\tabcolsep}{0.4em}
\begin{tabular}{cc}
  \chord{Em}{1}{1/o,4/o,5/o,6/o}{}{2/2,3/2} &
  \chord{D6}{1}{1/x,2/x,3/o,5/o}{}{4/2,6/2}
\end{tabular}
\end{center}

\noindent\textbf{Progression} (same for intro, verse and chorus):
\smallskip

\begin{center}\small\setlength{\tabcolsep}{1.2em}\renewcommand{\arraystretch}{1.4}
\begin{tabular}{|c|c|c|c|}
\hline
\textbf{Em} & \textbf{Em} & \textbf{D6} & \textbf{D6} \\
\hline
\end{tabular}
\end{center}

\smallskip
\noindent{\small
\textbf{Strumming} (4/4, $\approx$120 bpm): \quad\texttt{D - D U - U D U}\\
\textbf{Tip:} Both chords use fret 2 only --- Em on strings 5 and 4,
D6 on strings 3 and 1 --- and string 2 rings open in both. Leave strings
6 and 5 silent on D6. Keep the wrist relaxed.}

\bigskip

% ----------------------------------------------------------------
\subsection[Knockin' on Heaven's Door --- Bob Dylan (1973)]{2. Knockin' on Heaven's Door --- Bob Dylan (1973)
  \hfill\small\normalfont Level: beginner}

\noindent{\small
Two phrases in G major: \textbf{I -- V -- ii}, then \textbf{I -- V -- IV}
(see ``Diatonic Chords and Roman Numeral Notation'': G -- D -- Am, then
G -- D -- C). Four open chords; verse and chorus use the same sequence.}

\medskip
\begin{center}\setlength{\tabcolsep}{0.4em}
\begin{tabular}{cccc}
  \chord{G}{1}{3/o,4/o,5/o}{}{1/3,2/2,6/3} &
  \chord{D}{1}{1/x,2/x,3/o}{}{4/2,5/3,6/2} &
  \chord{Am}{1}{1/x,2/o,6/o}{}{3/2,4/2,5/1} &
  \chord{C}{1}{1/x,4/o,6/o}{}{2/3,3/2,5/1}
\end{tabular}
\end{center}

\noindent\textbf{Verse \& Chorus:}
\smallskip

\begin{center}\small\setlength{\tabcolsep}{1.2em}\renewcommand{\arraystretch}{1.4}
\begin{tabular}{|c|c|c|c|}
\hline
\textbf{G} & \textbf{D} & \textbf{Am} & \textbf{Am} \\
\hline
\textbf{G} & \textbf{D} & \textbf{C} & \textbf{C} \\
\hline
\end{tabular}
\end{center}

\smallskip
\noindent{\small
\textbf{Strumming} (4/4, $\approx$68 bpm): \quad\texttt{D - D - D U D U}\\
\textbf{Tip:} From G to D, the ring finger slides from string 1 to
string 2 and stays on fret 3: place it first, then let the other fingers
follow.}

\bigskip

% ----------------------------------------------------------------
\subsection[Wonderwall --- Oasis (1995)]{3. Wonderwall --- Oasis (1995)
  \hfill\small\normalfont Level: intermediate}

\noindent{\small
Famous for the \textbf{Cadd9} chord (``the Oasis chord'') that
recurs throughout. Key: F$\sharp$ minor (capo fret~2 recommended to play
the open shapes as on the recording).}

\medskip
\begin{center}\setlength{\tabcolsep}{0.4em}
\begin{tabular}{ccccc}
  \chord{Em7}{1}{1/o,4/o}{}{2/2,3/2,5/3,6/3} &
  \chord{G}{1}{3/o,4/o}{}{1/3,2/2,5/3,6/3} &
  \chord{Dsus4}{1}{1/x,2/x,3/o}{}{4/2,5/3,6/3} &
  \chord{Cadd9}{1}{1/x,4/o}{}{2/3,3/2,5/3,6/3} &
  \chord{A7sus4}{1}{1/x,2/o,4/o}{}{3/2,5/3,6/3}
\end{tabular}
\end{center}

\noindent\textbf{Verse:}
\smallskip

\begin{center}\small\setlength{\tabcolsep}{1.2em}\renewcommand{\arraystretch}{1.4}
\begin{tabular}{|c|c|c|c|}
\hline
\textbf{Em7} & \textbf{G} & \textbf{Dsus4} & \textbf{A7sus4} \\
\hline
\end{tabular}
\end{center}

\smallskip
\noindent\textbf{Chorus:}
\smallskip

\begin{center}\small\setlength{\tabcolsep}{1.2em}\renewcommand{\arraystretch}{1.4}
\begin{tabular}{|c|c|c|c|}
\hline
\textbf{Cadd9} & \textbf{Em7} & \textbf{G} & \textbf{Em7} \\
\hline
\end{tabular}
\end{center}

\smallskip
\noindent{\small
\textbf{Strumming} (4/4, $\approx$86 bpm): \quad\texttt{D - D U - U D U}\\
\textbf{Tip:} These are the song's own shapes, not the standard open
chords: fingers 3 and 4 stay on strings 2 and 1, both at fret 3, in all
five chords; only fingers 1 and 2 change position.}

\bigskip

% ----------------------------------------------------------------
\subsection[House of the Rising Sun --- The Animals (1964)]{4. House of the Rising Sun --- The Animals (1964)
  \hfill\small\normalfont Level: intermediate}

\noindent{\small
The iconic 6/8 fingerpicking piece. Progression \textbf{i -- III -- IV -- VI}
in A minor (Am -- C -- D -- F; see ``Diatonic Chords'').
One chord per bar.}

\medskip
\begin{center}\setlength{\tabcolsep}{0.4em}
\begin{tabular}{ccccc}
  \chord{Am}{1}{1/x,2/o,6/o}{}{3/2,4/2,5/1} &
  \chord{C}{1}{1/x,4/o,6/o}{}{2/3,3/2,5/1} &
  \chord{D}{1}{1/x,2/x,3/o}{}{4/2,5/3,6/2} &
  \chord{F}{1}{}{1/6/1}{2/3,3/3,4/2} &
  \chord{E}{1}{1/o,5/o,6/o}{}{2/2,3/2,4/1}
\end{tabular}
\end{center}

\noindent\textbf{Progression:}
\smallskip

\begin{center}\small\setlength{\tabcolsep}{1.2em}\renewcommand{\arraystretch}{1.4}
\begin{tabular}{|c|c|c|c|c|c|c|c|}
\hline
\textbf{Am} & \textbf{C} & \textbf{D} & \textbf{F} &
\textbf{Am} & \textbf{C} & \textbf{E} & \textbf{E} \\
\hline
\end{tabular}
\end{center}

\smallskip
\noindent{\small
\textbf{Fingerpicking} (6/8, $\approx$75 bpm):
six notes per bar, starting on the string of the root --- 5 for Am
and C, 4 for D, 6 for F and E --- and climbing toward string 1, e.g.
\texttt{5 -- 4 -- 3 -- 2 -- 1 -- 2} on Am.\\
\textbf{Tip:} Leave the strings below the root silent: string 6 on Am
and C, strings 6 and 5 on D. For the F barre chord, first place fingers
2--4 on strings 3--5, then roll the index finger into the barre once the
other fingers are set.}

% ====================================================================
\begin{samepage}
\section{Practice Tips}
\begin{mdframed}[backgroundcolor=lightnavy, linecolor=navy,
                 linewidth=0.8pt, innerleftmargin=10pt,
                 innerrightmargin=10pt, innertopmargin=8pt,
                 innerbottommargin=8pt]
\small\begin{enumerate}[nosep, leftmargin=1.6em]
  \item \textbf{Clean fretting.} Place the fingertip just \emph{behind}
    the fret wire, pressing with the very tip.
  \item \textbf{Thumb behind the neck.} Keep the thumb roughly opposite
    the middle finger so fretting fingers can arch cleanly.
  \item \textbf{Muted strings.} Brush the string lightly with a
    neighbouring finger, or train the picking hand to avoid it.
  \item \textbf{Barre chords.} Roll the index finger toward the headstock
    so the bony edge contacts the strings. Start at fret~5 where tension
    is lower, then work toward the nut.
  \item \textbf{Anchor fingers.} When changing chords, keep fingers that
    stay on the same string/fret anchored while repositioning the rest.
  \item \textbf{Slow practice.} Use a metronome. Master each transition
    cleanly at a slow tempo before increasing speed.
  \item \textbf{Essential beginner progressions:}
    G -- C -- D\quad|\quad C -- Am -- F -- G\quad|\quad
    Am -- F -- C -- G\quad|\quad E -- A -- B7 -- E.
\end{enumerate}
\end{mdframed}
\end{samepage}

\begin{center}\small\color{mygray}
  All voicings in standard tuning (E\,A\,D\,G\,B\,e).
  TAB: 6 digits, low E first (0\,=\,open, x\,=\,mute).
  Staff: treble-8 clef (guitar sounds one octave below written).
\end{center}

\label{fin-pratique}
\end{document}