Guitar lesson
Barre Chords (Bar Chords) on Guitar: E-Shape & A-Shape
How to play barre chords on guitar — the E-shape and A-shape that unlock the whole fretboard, F major and B minor, common mistakes, and exercises.
Barre chords are the gate between beginner and intermediate guitar. They feel impossible for a few weeks, then one day the F chord just rings — and the entire fretboard unlocks with it.
The reason is simple: two shapes, moved anywhere on the neck, give you every major and minor chord in every key. That is the whole payoff, and it is why this is worth the frustration.
Why barre chords matter
Open chords live in one position. Barre chords are moveable: slide the same shape up the neck and it becomes a new chord, because your index finger acts as a temporary nut. Two shapes give you every major and minor chord in existence.
Put differently, the five open shapes cover five major chords and a handful of minors. Two barre shapes cover all 24. There is no other place in guitar learning where a single skill multiplies like that.
The E-shape barre (root on the low E string)
The E-shape is an open E major played with different fingers: your index finger barres the fret where the nut would be, and fingers 2, 3 and 4 play the A, D and G strings two frets higher. At fret 1 it is F major — the classic first barre — at fret 3 it is G, at fret 5 it is A.
The shape slides to every root on the low E string:
| Fret | Major (E-shape) | Minor (Em-shape) | Dominant 7th (E7-shape) |
|---|---|---|---|
| 1 | F | Fm | F7 |
| 2 | F# | F#m | F#7 |
| 3 | G | Gm | G7 |
| 4 | Ab | Abm | Ab7 |
| 5 | A | Am | A7 |
| 6 | Bb | Bbm | Bb7 |
| 7 | B | Bm | B7 |
| 8 | C | Cm | C7 |
| 9 | C# | C#m | C#7 |
| 10 | D | Dm | D7 |
| 11 | Eb | Ebm | Eb7 |
| 12 | E | Em | E7 |
Three variants, one barre. Flatten the third and the major becomes minor; lift two fingers and it becomes a dominant seventh. That is how players who look like they know a hundred chords actually know about six.
The A-shape barre (root on the A string)
The A-shape barres the top five strings with the index and frets the D, G and B strings two frets up — often with the ring finger barring all three. At fret 2 it is B major, at fret 3 it is C, at fret 5 it is D.
| Fret | Major (A-shape) | Minor (Am-shape) | Dominant 7th (A7-shape) |
|---|---|---|---|
| 1 | Bb | Bbm | Bb7 |
| 2 | B | Bm | B7 |
| 3 | C | Cm | C7 |
| 4 | C# | C#m | C#7 |
| 5 | D | Dm | D7 |
| 6 | Eb | Ebm | Eb7 |
| 7 | E | Em | E7 |
| 8 | F | Fm | F7 |
| 9 | F# | F#m | F#7 |
| 10 | G | Gm | G7 |
| 11 | Ab | Abm | Ab7 |
| 12 | A | Am | A7 |
The A-shape covers the same 12 chords as the E-shape but in a different register. That matters more than it sounds: when a song jumps from F to Bb, playing Bb in the A-shape at fret 1 keeps your hand near where it already is, while the E-shape version at fret 6 sends it halfway up the neck.
The fixes for a clean barre
- Roll the finger. Barre with the bony side of your index finger, not the flat pad. The pad is soft and has a groove down the middle that swallows the middle strings.
- Thumb low. Keep your thumb behind the middle of the neck, pointing up, roughly opposite your index finger. A thumb hooked over the top pulls the whole hand out of position.
- Pull, don’t squeeze. Use the weight of your arm and a slight pull from the fretting hand instead of a death grip. The pressure that makes a barre ring comes from the arm, not the hand.
- Get close to the fret. A barre two centimetres behind the fret wire needs far more pressure than one a millimetre behind it.
- Strum one string at a time. Find the dead string, adjust, repeat. This diagnoses 90% of problems in 30 seconds.
- Start high. The frets near the nut need the most pressure. Practise the shape at fret 5 or 7 first, where it is easier, then slide down toward F.
The strength myth
Almost nobody fails at barre chords because their hand is too weak. Players with small hands and light frames play F cleanly all the time, and the fix is nearly always one of three things: the index finger is flat rather than rolled, the thumb is too high, or the barre is too far from the fret wire.
Test it yourself. Play a barre at fret 7. If it rings cleanly, your hand is strong enough, and the problem at fret 1 is position, not power. If fret 7 is also dead, start there and work down.
A four-week progressive workout
| Week | Daily drill | Goal |
|---|---|---|
| 1 | Barre at fret 7, strum, release, repeat 10 times | Get any clean sound at an easy fret |
| 2 | Same drill at fret 5, then fret 3 | Keep it clean as the frets get wider |
| 3 | Barre at fret 1 for 10 reps, then change F to C and back | Survive the hardest fret |
| 4 | Play a song with an F in it, slowly, all the way through | Use the chord rather than practise it |
Two minutes a day for a month, and the F chord stops being the thing you avoid in every song. The full chord-change drills are in the easy chords guide.
Songs on this site that need a barre
This is where the work pays off. Every song below contains at least one chord that has no open-position version:
| Song | Barre chords in it | Shape |
|---|---|---|
| Let It Be | F | E-shape at fret 1 |
| Hallelujah | F | E-shape at fret 1 |
| Creep | B, Cm | A-shape at fret 2, A-shape minor at fret 3 |
| Hotel California | Bm, F# | A-shape minor at fret 2, E-shape at fret 2 |
| Someone Like You | C#m, F#m | A-shape minors at fret 4 and fret 9 |
| Hey Jude | F, Bb, Eb | E-shape at fret 1, A-shape at fret 1, A-shape at fret 6 |
| Let Her Go | Bm | A-shape minor at fret 2 |
| Unchained Melody | F, Fm | E-shape at fret 1, E-shape minor at fret 1 |
Creep is the best first target. It is four chords, the tempo is slow, and the B and Cm both sit in the A-shape at frets 2 and 3 — so once you can hold the shape, you have most of the song.
Common mistakes
| What happens | Why | Fix |
|---|---|---|
| Middle strings buzz, outer strings ring | Index finger pad is flat and grooved | Roll onto the bony side |
| Whole chord is sharp | Squeezing so hard the fingers bend the strings | Ease off and use arm weight |
| Hand cramps after 20 seconds | Thumb hooked over the neck | Move the thumb behind the middle of the neck |
| Clean at fret 7, dead at fret 1 | Normal — the nut end needs more pressure | Work down one fret at a time |
| Works alone, fails in a song | You are practising the chord, not the change | Drill the transition, not the shape |
Where to go next
If the full barre still feels far away, power chord shapes are the same movable idea with two notes instead of six — the fastest route to playing songs while the barre builds up.
Once the two barre shapes are comfortable, the next step is not another shape but seventh chords and slash chords, which are the same barres with one finger moved. That is the point at which the neck stops being a set of positions and starts being one instrument.