The B7 chord is where many beginners discover what their fretting hand can and cannot do—yet. It looks simple on paper, but in practice you get rattles, dead strings, and that rogue low E that won’t stay quiet. Here’s a focused, practical approach to clean up the shape, lock in muscle memory, and make the chord sound confident every time you hit it.
Know the Shape Cold
Standard open B7 (from low to high): x 2 1 2 0 2. In words:
- Mute the 6th string (low E).
- 5th string (A) – 2nd fret.
- 4th string (D) – 1st fret.
- 3rd string (G) – 2nd fret.
- 2nd string (B) – open.
- 1st string (high E) – 2nd fret.
I recommend this fingering: middle finger on the 5th string (2nd fret), index on the 4th string (1st fret), ring on the 3rd string (2nd fret), pinky on the 1st string (2nd fret). The middle finger on the A string becomes your pivot and frees the index for the critical 1st fret on the D string.
Why B7 Buzzes (and How to Stop It)
Most issues come from tiny geometry mistakes. Small adjustments fix almost all of them.
| Problem | What’s Going Wrong | Quick Fix |
|---|---|---|
| Muted open B string | Fingers on G or high E are leaning and touching the 2nd string | Rotate your wrist slightly toward the headstock and arch fingertips; push thumb lower on the back of the neck |
| Buzz on the 4th string (1st fret) | Index too far from the fret wire or too flat | Place the index just behind the 1st fret wire and press from the fingertip, not the pad |
| Ringing low E (6th string) | Right hand hits the 6th string or left hand isn’t muting it | Angle the picking hand to miss the 6th string; lightly touch the 6th string with the tip of the middle finger or the thumb-over mute |
| Pinky won’t reach the 1st string | Hand is collapsed; wrist too straight | Drop the wrist slightly, bring the elbow under the neck, and pivot the forearm to open finger spread |
| General fatigue | Over-pressing frets, tense thumb | Use only enough pressure to stop buzz, then relax the thumb and shoulders |
Micro-Drills That Actually Work
Don’t brute-force the full chord for five minutes and hope it improves. Instead, zoom in.
- Plant in this order: middle → index → ring → pinky. Strum only the strings those fingers control after each plant. You’ll feel how the middle finger stabilizes the shape.
- Silent pressure test. Fret the full chord, then release pressure until strings just start to buzz. Re-press only 10–15% harder. This teaches “just enough” force.
- Open-B clearance drill. Hold the shape and pick only the open B string eight times. If it chokes, adjust finger angles until it rings perfectly.
- 6th-string mute check. Lightly touch the 6th string with the tip joint of your middle finger while fretting A2. Strum all six strings. If you hear the 6th string clearly, your mute isn’t engaged.
- Pinky independence. Keep middle–index–ring down and tap the pinky on/off the high E at 2nd fret 30 times. Slow, clean taps build control fast.
Smoother Transitions In and Out of B7
B7 lives most comfortably in keys around E and A. That means you’ll switch to it from E, Em, or A (often A7) a lot. Use pivots to travel less distance:
- E → B7: From E (0 2 2 1 0 0), lift the index and ring, slide the middle finger down one string to A2, put index on D1, ring on G2, pinky on e2. The middle finger stays planted as your pivot.
- Em → B7: Drop the middle finger from D string to A2, plant index on D1, ring on G2, pinky on e2. Minimal motion.
- A or A7 → B7: Lead with the middle finger to A2, then build the rest of the shape around it.
Practice with a metronome at a tempo where you never rush the setup. Eight bars of E, then four bars of B7, repeat. Only speed up when every switch is clean for two full minutes.
Rhythm Patterns That Help the Chord Settle
A busy strum hides sloppiness. A clear pattern exposes it—and fixes it.
- Down-down-rest-down (4/4): Count 1–2–(rest)–4. The rest gives your fingers space to land the chord without panic.
- Bass + brush: Pick the A string (root) on beat 1, then brush the top three strings on 2 and 4. You’ll learn to target the right strings and keep the low E out of the mix.
- Light palm-mute groove: Rest the picking-hand edge near the bridge and use short downs. Muting masks minor buzz while you strengthen the fretting hand.
Know Where B7 Wants to Go
B7 is a dominant seventh chord, so it naturally pulls to E or Em. Play these progressions slowly until the “tension → release” sound becomes obvious:
- E – B7 – E (classic V→I cadence)
- Em – B7 – Em (bluesy minor flavor)
- A – E – B7 – E (12‑bar E vibes condensed)
Hearing the resolution helps you anticipate the switch, which makes your hands move earlier and more confidently.
Useful Alternate Voicings (When the Open Shape Fights You)
Sometimes a different shape unlocks the sound in a piece of music or suits your hand better:
- x24242: A compact, movable B7 with the root on the A string. It’s a stretch at first, but it avoids the open B-string clearance problem.
- 7 9 7 8 7 7: Barre at 7th fret (E-shape dominant). Great for funkier grooves and tight rhythm playing.
- Partial grip: D–G–B–e only (1st–4th strings) from the open shape. Useful when you want sparkle without the bass.
Quick Checklist Before You Blame Your Guitar
- Neck angle: wrist slightly dropped, thumb behind the neck—not over-cranked.
- Fingertip arches: nails trimmed; touch the string with the tip, not the pad.
- Fret proximity: each finger sits just behind its fret wire.
- Economy of pressure: press only until the buzz stops.
- Right-hand aim: target the A–high E range and avoid the 6th string.
Watch and Match
A short demo beats a thousand words when it comes to hand angle and finger arch. Watch this, then mirror your posture in a mirror or phone camera while you try the same moves.
One Week Plan to Lock It In
- Day 1–2: Shape drills only (plant order + open-B clearance). 5 minutes in the morning and evening.
- Day 3: E ↔ B7 transitions with the bass + brush rhythm. 10 minutes slow, 5 minutes at song tempo.
- Day 4–5: Add Em ↔ B7 and A ↔ B7. Keep the middle finger pivot alive in every switch.
- Day 6: Try x24242 for two songs; return to open shape to compare clarity.
- Day 7: Record yourself playing E – B7 – E at two tempos. Listen for open B clarity and low E control.
Bottom Line
B7 isn’t hard—it’s precise. Small changes in finger angle, thumb height, and planting order decide whether the chord sings or chokes. Treat the middle finger on A2 as your anchor, carve fretboard space for the open B string, and teach the pinky to arrive on time. Give it a week of targeted practice and the buzz will be gone for good.
