Mind blown!
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You are one step closer to being a jazz guitarist!
These kinds of voicings are called "shell chords" - they are very handy when dealing with fast chord changes or when trying to come up with a guitar part that sits well amongst multiple instruments.
Oh yeah. The simple act of Doing Something Else Than the Other Dude is a secret art of the True Guitar Master.
Not that I'm anywhere close.
"Shell chords". Didn't know that term, Thanks. Must research.
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Exactly my thing. I came to it some years ago because my left hand hates playing bar chords, so I've been looking for movable chords that don't require the bar. And they just keep popping up. It''s fascinating.
@SuneAuken @jwcph if you don't play all six strings, every chord shape is 100% movable. The relationship between notes if you move them all the same distance remains unchanged, unlike, say, piano, where moving all your fingers one key left or right will change the character of the chord you produce.
That's why barre chords work in the first place, but we don't have to limit ourselves to them.
Congratulations - the good news is, there's always something like this to discover!
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@SuneAuken @jwcph if you don't play all six strings, every chord shape is 100% movable. The relationship between notes if you move them all the same distance remains unchanged, unlike, say, piano, where moving all your fingers one key left or right will change the character of the chord you produce.
That's why barre chords work in the first place, but we don't have to limit ourselves to them.
Congratulations - the good news is, there's always something like this to discover!
Yeah, and I know this, but getting the full understanding of it into my playing is ------- wheeew ----
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Mind blown!
Yeah, i know it's not mind blowing to people who can actually PLAY the guitar, bur for me it just blew my mind to realize that you can play the same chords in different ways within the same song, and it can add to the melodic expression and the dynamism of the thing.
Intermediate stuff. Still blows my mind.
@SuneAuken try playing a normal D to C9 to G progression, using the open chord shapes, but center on the 6th fret. So that means the B string on the D shape is on the 6th fret, the A string on the C9 is on the 6th, and the E on the G shape is on the 6th (play the G so that the high E and B strings are both fretted at 6)
One of my favorite chord progressions and super easy to play.
Works in a couple of other places too, but that 6th fret spot sounds best to me.
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@SuneAuken try playing a normal D to C9 to G progression, using the open chord shapes, but center on the 6th fret. So that means the B string on the D shape is on the 6th fret, the A string on the C9 is on the 6th, and the E on the G shape is on the 6th (play the G so that the high E and B strings are both fretted at 6)
One of my favorite chord progressions and super easy to play.
Works in a couple of other places too, but that 6th fret spot sounds best to me.
Let me see if I get it. I take each chord and moves it a minor third up the fret. Correct?
If so, what do I need to mute.
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Let me see if I get it. I take each chord and moves it a minor third up the fret. Correct?
If so, what do I need to mute.
@SuneAuken no muting! Just play the chords exactly how you would play the normal open chords.
And yes, up a minor third is a more concise way to state it
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@SuneAuken no muting! Just play the chords exactly how you would play the normal open chords.
And yes, up a minor third is a more concise way to state it
Yeah I think I'm hearing it. I can't figure out the context completely, but some of it rings true.
Which c9 do you use?
Alt text: Three picture with different fingerings of the c9 guitar chord.
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Let me see if I get it. I take each chord and moves it a minor third up the fret. Correct?
If so, what do I need to mute.
@SuneAuken quick video. Probably should have tuned first, but close enough.
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@SuneAuken quick video. Probably should have tuned first, but close enough.
@SuneAuken you can see I’m also throwing in the sus 4 shape on the D shaped chord, and my pinky and ring finger stay planed for the C9 and G shapes.
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@SuneAuken you can see I’m also throwing in the sus 4 shape on the D shaped chord, and my pinky and ring finger stay planed for the C9 and G shapes.
How grand that I missed the c9, you actually play! In fact, I usually play that one too - because it allows one of my fingers to stay put throughout.
Very nice. I get it. Will learn.
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@SuneAuken you can see I’m also throwing in the sus 4 shape on the D shaped chord, and my pinky and ring finger stay planed for the C9 and G shapes.
@SuneAuken here’s what Oolimo calls the chords
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@SuneAuken here’s what Oolimo calls the chords
Ok I will not remember that any time soon. but I will remember the figure.
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How grand that I missed the c9, you actually play! In fact, I usually play that one too - because it allows one of my fingers to stay put throughout.
Very nice. I get it. Will learn.
Oh wow. I just sat listening to it on my Martin. It really makes the Martin-sound ring out.
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Mind blown!
Yeah, i know it's not mind blowing to people who can actually PLAY the guitar, bur for me it just blew my mind to realize that you can play the same chords in different ways within the same song, and it can add to the melodic expression and the dynamism of the thing.
Intermediate stuff. Still blows my mind.
@SuneAuken Bob Weir of The Grateful Dead is a schoolar in this.
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Mind blown!
Yeah, i know it's not mind blowing to people who can actually PLAY the guitar, bur for me it just blew my mind to realize that you can play the same chords in different ways within the same song, and it can add to the melodic expression and the dynamism of the thing.
Intermediate stuff. Still blows my mind.
For any major key (in standard tuning), there are 3 "bars" where all the notes line up.
In G major the notes at the fifth and seventh frets are all in the scale, as are the open strings.
These are the minor 2nd, 3rd and 6th.
If you're playing in a key where the 2nd, 3rd, or 6th fall on the open E string, all the open strings will be in the key.
This is why keys of G, C, and D work so well.
Relative minors Em, Am, and Bm have root notes on open strings (the B is high though).
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For any major key (in standard tuning), there are 3 "bars" where all the notes line up.
In G major the notes at the fifth and seventh frets are all in the scale, as are the open strings.
These are the minor 2nd, 3rd and 6th.
If you're playing in a key where the 2nd, 3rd, or 6th fall on the open E string, all the open strings will be in the key.
This is why keys of G, C, and D work so well.
Relative minors Em, Am, and Bm have root notes on open strings (the B is high though).
I may be on the verge of understanding that, but I don't fully do. Is there an explainer for it somewhere?
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I may be on the verge of understanding that, but I don't fully do. Is there an explainer for it somewhere?
I don't know... this is just my personal observation.
The open strings are EADGBe. Some scales don't include some of those notes.
I realised it when I tried to learn the scales of A, C, D, E, and G.
C includes all the open strings
D includes all the open strings
G includes all the open strings
A doesn't include G
E doesn't include D and GNo other (major) keys include all the open strings.
The relative minor keys are the same, only Am, Bm, and Em include all the open strings.
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I don't know... this is just my personal observation.
The open strings are EADGBe. Some scales don't include some of those notes.
I realised it when I tried to learn the scales of A, C, D, E, and G.
C includes all the open strings
D includes all the open strings
G includes all the open strings
A doesn't include G
E doesn't include D and GNo other (major) keys include all the open strings.
The relative minor keys are the same, only Am, Bm, and Em include all the open strings.
@pete Ah, I Think I get it.
