Mark, thanx again but....

The really good bit is that with your four string fingering it is (just) possible to get my thumb over the back of the neck and fret the A on the bottom E string, and letting the open A string ring it gives me a really moody yet rich chord. Of course it isn't mobile because of the unfretted string.

Now it is also just possible to adapt your muted barre chord as well (I would hate to have to get into position in a hurry) by turning and curling the first finger barre so that it frets the bottom A (not the A flat, so you are running sideways a bit across the frets), and then using the second finger to fret the D sharp on the A string.

But why is it not the same notes as the Oxford book says? It sounds right, but see my quote from the book above. There has to be a reason.