If you can play open A, D, and E but this one stubborn dominant seventh still buzzes, mutes, or slows your chord changes, you’re not alone. Quick note before we begin: the term B7 on the internet sometimes points to non‑music pages; here we’re talking strictly about the guitar chord and how to make it sound clean every time.
What This Chord Actually Is (And Why It Matters)
Musically, this is the dominant seventh built on B: the notes are B, D#, F#, and A. In E major and E blues, it’s the V7—the sound that wants to resolve home to E. Mastering it unlocks classic 12‑bar blues, countless country turnarounds, and rock progressions where the pull back to E is a big part of the song’s character.
The Baseline Open Fingering, Clean and Efficient
Use this common open shape (strings 6→1): x–2–1–2–0–2.
- Middle finger: 5th string, 2nd fret (B)
- Index finger: 4th string, 1st fret (D#)
- Ring finger: 3rd string, 2nd fret (A)
- Open 2nd string (B)
- Pinky: 1st string, 2nd fret (F#)
- 6th string: mute it. Lightly touch it with the tip of your middle finger.
Hand setup that saves headaches: place your thumb around the middle of the back of the neck, wrist slightly forward, and keep your fretting fingers arched so their tips land near the fretwire. Aim for firm but not crushing pressure—most buzzing comes from being too far from the fret and too tense elsewhere.
Three Common Problems and Fast Fixes
| Problem | Likely Cause | Fix |
|---|---|---|
| High E string sounds dead | Ring finger or index is collapsing and touching the 1st string | Roll your ring finger slightly toward the headstock; bring the wrist forward 1–2 cm to increase finger arch |
| Low E rings when it shouldn’t | Incomplete mute with the middle finger | Angle the middle finger so its tip leans into the 6th string; strum from 5th string downward to be safe during practice |
| Buzz on the 4th string | Index too far from the fret or squeezing from the palm instead of the thumb | Move the index finger closer to the fretwire; apply counterpressure with the pad of your thumb, not the palm |
Build It in the Right Order
Instead of slapping all fingers down at once, set them in a sequence that makes space:
- Middle finger to 5th string, 2nd fret.
- Index to 4th string, 1st fret (keep it curved).
- Ring to 3rd string, 2nd fret, tip vertical.
- Pinky to 1st string, 2nd fret—don’t let it collapse sideways.
Strum only strings 1–5. If anything is dead, freeze the hand and nudge tiny angles rather than lifting and resetting everything. Micro‑adjustments teach your hand faster than full resets.
Transitions That Trip Players Up—and How to Smooth Them
E major → B dominant seventh
Anchor the index finger: from E major your index already sits at the 1st fret on the 3rd string. Slide it down to the 4th string, same fret, then drop the middle and ring. Add the pinky last. Count “1 (index), 2 (middle), 3 (ring), and (pinky)” while strumming eighth‑note downs to keep time.
A major → B dominant seventh
From A major, lift the whole A shape as a unit, land the middle on the 5th string 2nd fret, then index to the 4th string 1st fret. Treat the pinky as a separate “precision” move at the end. Practice ten slow reps focusing on the pinky landing silently and accurately before you add tempo.
Mini Drills That Actually Work
- Lift‑and‑land: Form the chord, lift all fingers 1 cm, land again in the correct order. Do 30 slow cycles without looking away from the fretboard.
- Silent fretting: Fret the shape without strumming and press just enough to feel the string stop against the fretwire. Then release to 50% pressure and back to 100%. This teaches economy of force.
- One‑minute changes: Alternate E major and the target chord for 60 seconds, counting clean transitions. Track the number daily.
- Metronome ramps: Start at 50 bpm, two beats per chord. Increase by 5 bpm only when you hit ten flawless switches.
Groove It: Strums and a 12‑Bar Skeleton in E
Two reliable strum feels:
- Shuffle eighths: Down (long) – up (short) with a light accent on beats 2 and 4.
- Country bounce: Down – down‑up – (rest) – up, palm‑muted near the bridge.
Try a simple 12‑bar in E. Use E (I), A (IV), and the target chord (V7). Count bars like this:
- Bars 1–4: E
- Bars 5–6: A
- Bars 7–8: E
- Bar 9: the V7
- Bar 10: A
- Bar 11: E
- Bar 12: the V7 or a turnaround of your choice
Keep the pick strokes small and focus on consistent dynamics—uneven volume is often what makes this chord sound harsher than it is.
Alternative Shapes When Your Pinky Gets Tired
If the open form still fights you, try these movable voicings that skip the fussy open‑string interactions:
- E‑shape dominant at the 7th fret: 7–9–7–8–7–7. Full, strong, and easier to mute the low string.
- A‑shape dominant at the 2nd fret (as a partial barre): x–2–4–2–4–2. Use the index as a mini‑barre across strings 1–2.
- Three‑string shell on top: x–x–4–4–5–4 (spelled relative to the 4th fret). Bright and quick for funk or pop.
These shapes let you choose tone and context: chunky full‑band rhythm, tight funk comping, or smooth voice‑leading into E triads up the neck.
Fingerstyle Bass Options
For fingerstyle or boom‑chick feels, alternate a bass pattern on beats 1 and 3. Start with the 5th string (B) on beat 1, then either lightly brush the muted 6th or fret the 6th string 2nd fret (F#) by wrapping the thumb. If thumb‑over fretting strains your hand, skip it and keep the 6th string muted; tone beats tricks.
Watch and Copy: Quick Visual Guide
Use this short video to compare your hand angles, muting, and finger order. Pause, copy the posture, and replay in 10‑second loops while you practice.
Five‑Minute Daily Plan
- 1 minute: Lift‑and‑land with perfect finger order and string muting.
- 1 minute: Silent fretting pressure drills.
- 1 minute: E major ↔ target chord changes at 50–60 bpm.
- 1 minute: 12‑bar skeleton with a simple shuffle strum.
- 1 minute: One alternative voicing (7th‑fret E‑shape) to build versatility.
Record day 1 and day 7 on your phone. You’ll hear the noise floor drop and the resolution back to E feel more intentional.
When to Move On
Once you can switch in under half a second without buzz at 80–90 bpm, start exploring fills between chords: hammer‑ons on the 4th string 0→1 on the way in, a quick slide into the 2nd‑fret 3rd string, or a bass walk B–A#–A into the IV chord. These tiny movements make the progression groove and keep your rhythm playing musical rather than mechanical.
Bottom Line
This chord isn’t inherently difficult; it’s just unforgiving about finger angles and muting. Fix the setup, land the fingers in a smart order, drill transitions with a metronome, and keep a backup voicing ready at the 7th fret. In a week of short, focused sessions, you’ll go from dodging it to leaning on it to make your E‑based tunes really resolve.