How to Use a Capo and Transpose Guitar Chords

Count one semitone for every fret

Western music divides the octave into twelve semitones. Each guitar fret raises a note by one semitone, so moving a capo from fret two to fret three raises every sounding chord by one additional semitone. The chromatic sequence is C, C-sharp, D, E-flat, E, F, F-sharp, G, A-flat, A, B-flat, B, then C again.

Enharmonic names such as C-sharp and D-flat describe the same pitch on a fretted instrument. Choose the spelling that fits the song key. A song in E-flat normally uses E-flat and B-flat rather than D-sharp and A-sharp because that spelling makes the harmony easier to read.

• Capo 1 raises every shape by one semitone.
• Capo 2 raises every shape by a whole tone.
• Capo 5 raises every shape by a perfect fourth.
• Capo 7 raises every shape by a perfect fifth.

Find the sounding chord from the shape

Start with the chord shape, then move its root upward by the capo fret number. Keep the chord quality unchanged. A minor shape remains minor, a dominant seventh remains a dominant seventh, and a suspended chord remains suspended. Only the root moves.

For example, capo three with an Am shape produces Cm. Count A to B-flat, B, C: three semitones. A D7 shape becomes F7, and a G shape becomes B-flat. Write both the capo position and the shapes on a rehearsal chart so another guitarist knows what your hands are playing.

1. 1Identify the root and quality of the chord shape.
2. 2Count upward one semitone per capo fret.
3. 3Attach the original quality to the new root.
4. 4Check the result against the song's key and progression.

Work backward to choose easy shapes

Often you know the sounding key and want easier shapes. In that case, count backward from each sounding chord by the capo fret number. A song using E, A, and B can be played with capo two using D, G, and A shapes. The progression still sounds in E, but the left hand uses friendlier open chords.

Choose the capo position for the entire progression, not one isolated chord. A position that simplifies the tonic may create an awkward diminished or slash chord elsewhere. Test the verse, chorus, bridge, and any melody notes before settling on a fret.

Choose a capo position for tone and range

Two capo positions can produce the same sounding key with different shapes and tone. Higher capo positions shorten the vibrating strings and create a brighter, tighter sound. Lower positions retain more bass and body. In a two-guitar arrangement, one player can use open-position shapes while the other uses a capo to create a contrasting register.

Check the highest fretted notes and the space left for your hand. A capo at fret nine may be mathematically correct but cramped on some guitars. Also listen to the lowest note of each shape because inversions and omitted bass notes can change the arrangement even when the chord names are correct.

Fit the capo correctly and retune

Place the capo just behind the target fret rather than in the middle of the fret space. Use only enough pressure to make every string clear. Excess pressure stretches strings sharp, while uneven pressure causes buzzes or muted notes. Curved and flat fingerboards may require different capo designs.

Tune before attaching the capo, fit it carefully, then check tuning again. Moving the capo sideways can drag strings out of position. When changing frets during a set, lift and replace the capo instead of sliding it under full pressure.