The open chord
Frets, low E to high E: 3 2 0 0 0 3 — notes G B D G B G. The root is on the low E string (3rd fret) and on the high E string (3rd fret) at the same time. A common variant fingering, 3 2 0 0 3 3, doubles the 3rd on the B string to a D.
| String | Fret | Note | Role |
|---|---|---|---|
| 1 (high E) | 3 | G | root (octave) |
| 2 (B) | 0 | B | 3rd |
| 3 (G) | 0 | G | root |
| 4 (D) | 0 | D | 5th |
| 5 (A) | 2 | B | 3rd |
| 6 (low E) | 3 | G | root |
As a movable shape
When you slide the G-shape up, the open G, D, and B strings become fretted notes that pinch the shape into a wide stretch. Most players use a partial G-shape — usually the top three or four strings — to avoid an awkward six-string chord.
Example — A major as a G-shape (move up two frets):
| String | Fret | Note | Role |
|---|---|---|---|
| 1 (high E) | 5 | A | root (octave) |
| 2 (B) | 2 | C# | 3rd |
| 3 (G) | 2 | A | root |
| 4 (D) | 2 | E | 5th |
| 5 (A) | 4 | C# | 3rd |
| 6 (low E) | 5 | A | root |
In practice, a player might grab only the top three strings (A on the 1st string, C# on the 2nd, A on the 3rd) or the bottom three to get a usable G-shape fragment.
Where it sits on the neck
The G-shape sits between the A-shape (below) and the E-shape (above) for a given chord. It is the shape that "bridges" the middle of the neck, so even as a partial voicing it is useful for soloing, because its arpeggio and scale boxes connect the A-shape and E-shape pentatonic positions.
Common variants
Gm-shape (minor)
The full movable Gm-shape is rare because the stretch is unfriendly; minor chords are almost always played as E-shape or A-shape barres instead. A partial Gm "top-three-strings" voicing is still usable.
G7-shape (dominant 7th)
Open G7 is 3 2 0 0 0 1 — the high E drops to F (b7). When moved up, this is a common blues/country dominant voicing.
Gmaj7-shape
Open Gmaj7 is 3 2 0 0 0 2 — the high E drops to F# (the major 7th). Moved up it becomes a compact, ringing maj7 voicing.