It’s tempting to see the capo as a simple tool to facilitate quick key changes without having to learn new shapes.
However, when you start using a capo on the higher frets you unlock a fresh new timbre from the guitar. Chords and sequences that may have sounded dark and muddy down in the open position suddenly come to life with a brightness and ‘zing’.
The sweet spot for this approach appears to be at the 7th fret and some of the greatest bands and songwriters have discovered their most famous ideas through playing in this register.
The magic partly comes from the fact that you are starting to exist in a world that is somewhere between guitar and mandolin. There’s still depth and heft but it’s joined by a clarity and immediate attack on the notes that creates something very special.
Classic tracks capo’d at the 7th fret include Hotel California and Here Comes the Sun but even just playing simple a I-IV-V chord progression (eg E-A-B) up there will sound fresh and vibrant.
While the capo’d part is a main feature in both these tracks, this doesn’t always have to be the case and simple chords at the 7th fret can be a perfect thing to overlay on a recording that sounds too dark or dense – this is a sound you’ll hear in modern country and the Nashville pop of Taylor Swift all the time.
One caveat – use the best capo you can, as they do make a difference! Fortunately, we have a buying guide for that.
To watch each of the examples, click play on the video at the top of the article, or to listen, use the Soundcloud playlist below.
Tab examples
Example 1. CAGED shapes
Here are the CAGED chord shapes when using a capo at the 7th fret. The literal chord (eg G) is named above the notation and the bracketed chord (eg C) underneath is the familiar common shape.
After playing this, try other common chord progressions as previously obvious ideas can sound unique up at the 7th fret.
Word to the wise: this may sound (too) simple but make sure you know what every actual chord is – other musicians only care about the literal results, not the guitar-friendly chord shape you're playing.
Example 2. The Eagles style
Played around the low frets, this country rock-tinged progression could have sounded muddy.
Transformed with high arpeggiated patterns using a capo at the 7th fret, the results sparkle with brightness and air.
Example 3. George Harrison style
This shows how chords can be arpeggiated and embellished with melodic ideas whilst still retaining plenty of clarity. Ideas like this can sound muddy down in the open position but the capo provides a crisp and clear sound.
Example 4. Paul Simon style
Playing up at the 7th fret can make an already interesting chord progression sound even more unique.
This example uses folk-esque chords to create more of a mysterious sound that is accentuated by playing higher up the neck. This is where the mandolin-esque tone really shines.
Example 5. Passenger style
Melodic chords can work especially well when played with a capo higher up the neck. This is especially useful in a band mix where a more detailed part can get lost low down on the fretboard.
Using a capo at the 7th fret, the notes and chords will stand out more and not get in the way of the bass.
Example 6. Nashville pop
When layering guitars it’s common to build a track with low register and high register parts. However, many bands and arrangers like adding a middle area part to add further depth to a song.
For this example, the combination of airy sounding chords using 9ths and suspensions with the 7th fret capo provides richness without adding clutter.
Example 6 continued. Second guitar part
Examples of using the capo at the 7th fret
The Eagles - Hotel California
Don Felder’s mystical sounding arpeggiated part that opens this classic track features a 12-string guitar with a well placed capo
It's one of the most ear-catching guitar moments in rock history, in part thanks to the magical 7th fret placement for the capo.
The Beatles - Here Comes The Sun
The very definition of ‘jangle’, Here Comes The Sun would actually lose most of its jangle if played in the open position. At the 7th fret, however, the chords actually evoke the bright, hopeful sound of summer.
George Harrison’s picked part is actually quite detailed and uptempo so the higher pitch brings a balance and brightness, making every note distinctive.
Simon & Garfunkel - Scarborough Fair
Paul Simon used the capo at the 7th fret to great effect on this folk classic, even more so as the high airy sound of his fingerpicked parts married perfectly with Art Garfunkel’s vocal register.
Played up high, his guitar sounds more like a traditional folk instrument such as a mandolin or cittern.
Passenger - Let Her Go
This was a massive hit for Passenger helped in no small way by the melodic guitar that was picked out up at the 7th fret.
This is another great example of a part that could lose clarity in the open position but up here everything is even and balanced with a brightness that means none of the essential melody is lost in a wash of strings.
If you're still wondering what the pictured chord was earlier it was 1) G major shape and 2) D major. Did you get both of these right?
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