Find the string order first
Our diagrams show string 6, low E, on the left and string 1, high E, on the right. Each vertical line is a string. The heavier horizontal line at the top represents the nut; the spaces below it are frets 1, 2, 3 and 4. Use the numbered strings rather than guessing from the direction a drawing faces. The chord desk also provides a written instruction for every string, so the information is available without interpreting the picture.
Separate the symbol from the finger number
An open circle above a string means play that string without fretting it. A cross means leave it out of this chord shape. A filled dot means fret the string in the indicated space. The number inside the dot is a suggested finger, not the fret number: 1 is index, 2 middle, 3 ring and 4 little finger. Fret position comes from the space the dot occupies.
Read Em as an example
For the Em shape, strings 5 and 4 are fretted at fret 2. This library suggests fingers 2 and 3; strings 6, 3, 2 and 1 remain open. Other valid finger choices exist. Read the shape from left to right and compare it with the six written instructions. The fret code 0, 2, 2, 0, 0, 0 uses zero to mean open and lists string 6 through string 1. It is a shorthand for this shape, not a song tab.
Check the intended strings before strumming
An Am shape begins at string 5, not string 6. A D shape begins at string 4. Knowing the fretted dots is only part of forming the chord; knowing which strings belong in the strum matters too. Start by picking the intended strings individually. Notice if a fingertip touches an adjacent open string, and try a small position adjustment rather than simply squeezing harder. Ask a teacher when positioning is unclear.
Treat the chart as a reference, not a verdict
These are eight common open-position shapes in standard tuning. Different voicings and fingerings can be valid. A diagram cannot hear buzz, check a hand position or establish whether the guitar’s setup is suitable. Use it to understand the intended notes, then listen to your own result. Work on one shape at a time before expecting changes between several chords to happen smoothly.
Put one idea into practice
Find a chord shape · Make a session plan · Use a steady pulse