The Ultimate 120 Mandolin Chords Pack: Open, Barre & Slash ChordsLearning mandolin chords gives you the freedom to accompany songs, write originals, and explore the instrument’s bright, percussive voice. This guide — “The Ultimate 120 Mandolin Chords Pack: Open, Barre & Slash Chords” — is designed to be a complete reference for players of all levels. It covers chord shapes, fingerings, variations, practical tips for switching, voicings for different musical styles, and exercises to internalize the shapes. Use this as a workbook: try each chord on the instrument, record yourself, and return to tricky shapes regularly.
Why 120 chords?
120 chords gives you broad coverage: open-position staples, movable barre shapes for every key, and slash (inversion) chords that add melodic interest. Together they let you:
- Play in any key without transposing constantly.
- Create smooth voice-leading and bass movement.
- Add color and tension with suspended, added-note, and altered chords.
How this pack is organized
The 120 chords are grouped into three main categories:
- Open chords (30) — easy, rooted in open strings, great for beginners and folk styles.
- Barre chords (60) — movable shapes across the fretboard, essential for playing in all keys and for blues/rock.
- Slash/inversion chords (30) — chords with non-root bass notes or specific voicings to improve song arrangements.
Each chord entry includes:
- Name (e.g., G, Dmaj7, Cm/G)
- Diagram/fingering (four-string mandolin layout)
- Suggested fret position and voicing tips
- Common progressions where the chord is useful
Mandolin basics relevant to chords
- Standard tuning: G3 D4 A4 E5 (low to high). Intervals are in fifths, like a violin.
- Mandolin is typically played with four paired strings (courses), but chord shapes follow single-string logic for fingering.
- Barre technique: use the index finger to stop multiple strings at once — useful for movable shapes.
- Slash chords: written as C/G means a C chord with G in the bass; on mandolin you choose a voicing where the lowest note (physically lowest-pitched string) is that bass.
Open Chords (30)
Open chords use open strings and fretted notes in the first 3–4 frets. They’re bright and resonant.
Examples (with short fingering notes):
- G: 0-0-2-3 (use 0 = open strings; place 2nd finger on A string 2nd fret, 3rd finger on E string 3rd fret)
- C: x-3-0-1 (mute G string, 3rd fret on D, open A, 1st fret on E)
- D: 0-0-0-2 (G,D,A open; E string 2nd fret)
- Em: 0-2-2-0
- Am: x-0-2-2
Useful variations: add sus2/sus4, open voicings of maj7 and 6 chords, and hybrid shapes where one string is muted to get cleaner bass.
Barre Chords (60)
Movable shapes let you play any major, minor, seventh, or extended chord up the neck. Below are the most versatile families:
- “C-form” barre (root on G string) — works like a closed C shape moved up the neck. Good for major and minor variants.
- “G-form” movable (root on D string) — comfortable for major triads and power-chords.
- “D-form” movable (root on A string) — useful for brighter voicings and quick transitions.
- Dominant 7 and minor7 movable shapes — essential for blues, jazz, and country.
Technique tips:
- Keep the thumb behind the neck and slightly lower than the index finger to get a strong barre.
- Roll the finger slightly to use the side for a cleaner barre.
- Use partial barres when only two or three strings need to be fretted.
Common barred chords to learn (examples, with root positions):
- F (barre at 1) — major
- B♭ (barre at 3) — major
- E♭ (barre at 6) — major
- Am (barre shapes up the neck for different bass notes)
- G7 movable at various frets
Slash & Inversion Chords (30)
Slash chords create smoother bass lines and voice-leading: C/G, D/F#, Em/B, etc. On mandolin they’re achieved by choosing a voicing where the lowest sounding note is the slash bass.
Examples to practice:
- C/G — play C voicing while fretting a low G on the D string.
- D/F# — common in pop; fret F# on the G string while playing D triad above.
- G/B — move a G chord so the B note is prominent in the lower voice.
- Am/G — great descending bass movement for ballads.
Practical use: use slash chords when moving between I–V–vi–IV progressions to create stepwise bass movement.
Common progressions using the pack
- I–V–vi–IV: G–D–Em–C (use open G and D, barre Em and C variants for tonal contrast)
- II–V–I (jazz): Amaj7–D7–Gmaj7 (use barre maj7 shapes up the neck)
- Blues in G: G7–C7–D7 (barre dominant 7 shapes for grit)
- Folk ballad: C–G/B–Am–F (use C/G and G/B slash voicings for smooth bass)
Practice plan (8 weeks)
Weeks 1–2: Learn all 30 open chords; practice changes between common pairs (G↔C, G↔D, Em↔C).
Weeks 3–5: Learn 30 barre shapes (major/minor variants) across common frets; practice movable forms and root placement.
Weeks 6–7: Learn 20 slash/inversion chords and apply them in progressions.
Week 8: Combine all 120 into song arrangements; record and refine transitions.
Daily routine (20–30 minutes):
- Warm-up: scales or single-string runs (5 min).
- Chord drill: 10–15 min (focus on smooth changes, metronome).
- Song application: 5–10 min (apply chords in context).
Voicing and arrangement tips
- Use open chords in verses for a ringing, full sound; switch to barre or muted voicings in choruses for punch.
- Place a mandolin chop (muted off-beat strum) with barre chords to drive rhythm in bluegrass/country.
- Use inversions to maintain common tones between chords for minimal finger movement.
Troubleshooting & common problems
- Buzzing strings: press closer to the fret and check finger curvature.
- Weak barre: roll the index finger and position the thumb lower on the neck.
- Muddy sound on slash chords: omit low notes that clash or use partial mute.
Example chord chart (short sample)
- G — 0 0 2 3
- D — 0 0 0 2
- C — x 3 0 1
- Em — 0 2 2 0
- Am — x 0 2 2
- F (barre1) — 1 3 3 2
- B♭ (barre3) — 3 5 5 4
- C/G — [C shape] with G on D string fret 5
Conclusion
This 120-chord pack equips you to play across genres, write richer arrangements, and move smoothly around the mandolin neck. Practice systematically, record progress, and add these shapes to real songs. Over time the shapes will become second nature — letting you focus on musicality, not fingering.
If you want, I can deliver this pack as printable chord diagrams, a PDF with fretboard charts, or split it into weekly practice sheets.
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