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CHORD CLINIC

FIGURE 2

We can see this sequence working as a middle eight and, as is often the case, it starts on chord IV, which we’ve taken up at the 8th fret to give the music a boost.
The E7 chord comes as quite a surprise and only occupies half a bar, followed swiftly by the F chord and a bar of C major. Experiment with the C barre chord from
this example or either of the options from figure 1 and decide which works best for you.

F C E 7 F
X X O X X X

2 1
3RD
1 1 1 1 2
8TH 8TH

2 3 4 2
3
2 3 4 3 4 4
♯
F C F A C G C E G C E E B ♭ D G F C F A
1 5 1 3 1 5 1 3 5 1 1 1 5 7 1 1 3 5 1

FIGURE 3

These two chords follow the first two chords from figure 2 to make the last four bars of our middle eight. We’ve chosen to play these as barre chords but, if your hand
is hurting, you can swap in their open-string equivalents. Remember, the best way to hold down barre chords is to squeeze with your thumb and not to pull from your
elbow. We like these fat voicings and the way the seventh is voiced low in the chord. Try them out and you might find that they progress smoothly from one to the other.

D 7 G 7
X

1 1 1
5TH

1 1 1 1

3 4 2

3
♯
D A ♭ C F A C D ♭ F B D G
1 5 7 3 5 1 5 7 3 5 1

FIGURE 4

This roots-led sequence reflects Dylan’s flirtations with the genre while he was with The Band, and is best played with a lively tempo inspired by the zydeco music of
Louisiana. We’ve chosen to use the more economical thumb-over version of F major here, and create a verse made up entirely of F and C7 chords. The chorus or tagline
at the end of the verse consists of F major, followed by the last three chords, which can be repeated before heading back to the top of the verse. The F7/A adds a cool
bassline to the progression. But try playing a root position F7 instead to hear the subtle difference this chord makes.

F C 7 F /A
7
X X X X X X

T 1 1

2 2

3 3 4 1

2

3 4
♭ ♭
F F A C C E B C A F C E
♭
♭
1 1 3 5 1 3 7 1 3 1 5 7

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