An open string left ringing against a fretted grip. Because it costs no finger, it sounds a note the closed shape has none left for -- a tension on top, or a pedal root underneath. Either a familiar grip with open strings added, or a shape so sparse the open strings carry the chord. These belong to their key rather than to a shape, so D, A, G and E have many and Eb a handful.
E is E, G# and B.
It sounds plain and completely at rest. The reference every other chord on this page is a modification of.
Tonic — the chord a progression stops on.

| E | G# | B |
|---|---|---|
| 1 | 3 | 5 |
Also written Emaj, EM or E major. The same chord either way; which spelling you meet depends on who wrote the chart.
An open string left ringing against a fretted grip. It costs no finger, so it can sound a note the closed shape has none left for: a tension on top, or a pedal root underneath.
These belong to their key rather than to a shape: they cannot be moved up the neck. D, A, G and E have many; E♭ has a handful.
E has 2 of them, on strings 6-4-3-2 and the top four strings, all of them at the 4th fret — every inversion the chord has: E in the bass and G# in the bass. The one to learn first is the G# shape at the 4th fret, which is the easiest grip here.
All 7 common shapes as fret numbers, lowest string first. Hover or tap one to see it drawn.
How you get to it. The turn that lands on E is F#m7 to B7 — the ii and the V of E — and B7 shares its third and seventh with F#m7, so the hand barely moves between them.
In which keys. Every note of E belongs to C# minor (the ♭III), E major (the I), F# minor (the ♭VII), Ab minor (the ♭VI), A major (the V) and B major (the IV).
Every note of E is in E major pentatonic, E major, E lydian, E mixolydian and E lydian dominant.
Change one note of E and you have Em (the major third becomes the minor third), Esus2 (the major third becomes the second), Esus4 (the major third becomes the fourth), Emaj7 (add the major seventh), Eadd9 (add the ninth) or E5 (drop the major third).
E is a major chord — root, major third, fifth. Major chords on every root.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.