...the "A-shape" is the most versatile of the five CAGED chord shapes because it seems to spawn more ways of fingering the same chord than does any of the other CAGED shapes.

...here is the "A-shape" in the Key-of-A, at the nut, with all its degree notes labelled:



...notice that although the chord "starts" on the ROOT note on A5-string, like the "C"-chord, there's actually an adjacent 5-degree note on the E6-string (which is also a "fold-over" (double octave) onto the E1-string).

...and, two points: (a) because it's a "middle" strings chord, it makes an excellent RHYTHM chord; and (b) because it ends on 5-degree note (which enables 6th, d7th, M7th fingerings) it makes an excellent MELODY chord as well.

...notice also that the "doubled" adjacent 5 & R notes on E6/A5 and D4/G3 strings allow "ping-pong / contrabass" playing at two places within the chord (bass on E6/A5) and chordal on D4/G3).

...now, if we lower (flat) the embedded ROOT note on G3-string one halfstep, we create a "rhythm" AM7 chord:



...but, if we raise (sharp) the 5-degree note on E1-string FOUR frets, we create a totally different "melody" AM7 fingering, one where the M7-note is the last (and highest pitch) note in the chord:



...here, the difference between "rhythm" voicing (fingering) and "melody" voicing (fingering) is readily apparant.

I had feeling the A shape was going to be really significant..

I'll watch for the picture edit OTM...I think they must be working on the site...I notice if I try to go in from the topic notification in my email, it won't let me log in.

PICTURE POSTING TEST:

FAILED.

Ok, I see the 'A' shape in key of A and all it's degrees now OTM.

Most versatile, ok and I may see why but I know you're going to show me so I won't say.  Good rhythm AND melody chord too, ok.

I'm looking at the diagram and I'm wondering that if I play the +5 at E1, fret 1 (raising the open 5th I think) and everything else remaining as shown, would I be making an A#?

Good beginning lesson OTM....ready for the '...more'.... !

GuitarZen wrote:

I'm looking at the diagram and I'm wondering that if I play the +5 at E1, fret 1 (raising the open 5th I think) and everything else remaining as shown, would I be making an A#?

...did you: (A) mean A#5 = A+5 = Aaug? and, (B) remember the difference between "changes" to a 5-degree note in a  TRIAD chord versus the "changes" to a 5-degree note in a TETRA chord like C7+5 (also called "altered" chord)?

I cannot tell a lie...actually, I did mean 'A#' but looking at chordbook now and seeing the A#/Bb fingering I don't know where the heck I got the idea that raising the 5th at E1 would render an A#....maybe I thought it could be an inversion, but I hadn't looked...din't mean to misdirect, though there's a lesson in your reply....trying to remember the difference between changes to a triad v. a tetra chord but I'm not.  Can you point me towards the lesson where that's stated without going to too much trouble so I can review please?

You said  "...notice also that the "doubled" adjacent 5 & R notes on E6/A5 and D4/G3 strings allow "ping-pong / contrabass" playing at two places within the chord (bass on E6/A5) and chordal on D4/G3)."

Now that's interesting...this supports your earlier,  "...the "A-shape" is the most versatigle of the five CAGED chord shapes because it seems to spawn more ways of fingering the same chord than does any of the other CAGED shapes."  Lots of ways to go with this A shape I'd say.

When you say 'allows ping ponging at two places within the chord'...do you mean one would lift at D4/G3 together and play E6/A5 alternately (ping pong/contra bass style), or do you mean ping ponging E6/A5 while maintaining D4/G3 as is and does 'chordal on D4/G3' mean ping ponging D4/G3 to create other chords? Hope I'm not thinking too deep again !

'A shape' embedded ROOT note flatted at G3 and 'A shape' 5th degree note sharped at E1 to create a rhythm or melody AM7 chord...also interesting....also I'm beginning to instantly differentiate between a major 7th and a dominant 7th which helps things go a little smoother.

Great lesson OTM, thank you !

GuitarZen wrote:

I cannot tell a lie...actually, I did mean 'A#' but looking at chordbook now and seeing the A#/Bb fingering I don't know where the heck I got the idea that raising the 5th at E1 would render an A#....maybe I thought it could be an inversion, but I hadn't looked.

...(A) excellent! it's a sign that you're learning when you detect & correct your own mistakes.

GuitarZen wrote:

...trying to remember the difference between changes to a triad v. a tetra chord but I'm not.

...(B) with ALL chords (TRIAD and TETRA), whenever a "change" (flat/sharp; minor/major diminish/augment) is made to either the III-degree (minor/major; sustain) or V-degree (diminish/augment) notes, it must be done to EVERY III and V note within the chord, but also...

...(C) with TETRA chords (7ths, 9ths, 11ths, 13ths), the (-/+5 or dim5/aug5) changes are called "altered" notes and affect only the "color" note.  Thus a tetrachord, like C7-5, could (and often does) have BOTH a "normal" 5th degree "G"-note as well as a "lowered/flatted" 5th-degree "Gb"-note...with the difference being the "normal" 5th will usually be embedded within the chord shape while the flat-5 note will typically be either in a BASS or TREBLE (melody) position.  Why?, because the altered note is often being used as a "passing tone" (usually in ascending or descending bass or treble 'lines') which is why you often see the flat-5 note in the bass with many X7-5 chords.

GuitarZen wrote:

When you say 'allows ping ponging at two places within the chord'...do you mean one would lift at D4/G3 together and play E6/A5 alternately (ping pong/contra bass style), or do you mean ping ponging E6/A5 while maintaining D4/G3 as is

...yes, you would "ping-pong' the E6/A5 notes but leave the D4/G3 as they were within the chord; or, you could ignore the E6/A5 notes and 'ping-pong' the D4/G3 notes while playing the treble four strings...ie: a combined "melody" chord with "contrabass."

GuitarZen wrote:

and does 'chordal on D4/G3' mean ping ponging D4/G3 to create other chords?

..."ping-ponging" is a "do-it-yourself" bass-guitar technique; it does not change the key of the chord because you're simply "hopping" back and forth between the R and 5 notes (the two PERFECT tones), which are two-thirds of the chords TRIAD.

GuitarZen wrote:

Hope I'm not thinking too deep again!

..."Deep Thinking" is great! "Deep Du-du" isn't (ha,ha)!

...there are two ways to make an A7th chord; first, the "rhythm" fingering, where the d7-note is embedded within the chord:



...and, here's the "melody" fingering, where the d7-note is highest/last note in the chord:



Q: can YOU explain to yourself "how" each of these four chords (2 x AM7 and 2 x A7) are "made/derived"?

...(A) excellent! it's a sign that you're learning when you detect & correct your own mistakes....Thanks boss, well I'm sure trying hard ! I get muddled at times but lately the headaches don't even start, so I must be getting more comfortable with my studies, thanks in no small part to your patience I'd say !


"difference between changes to a triad v. a tetra chord"....ok, as soon as I saw your explanations, those lessons came back to me. So in TRIADS, change a 3rd or a 5th, have to change all of them in the chord, same for TETRAS, BUT additionally, changes are called "altered" notes and..." because the altered note is often being used as a "passing tone"....this is important stuff and I know I need to remember this key point. Thank you.

And on 'passing tones', should I think of these notes as transitional, as in moving up or down bass or treble 'lines' (scales?) that lead to a note where otherwise the move would seem 'off' somehow? Hope I've asked that in a way that you understand.

Ok to your all in your 'ping ponging' reply. I just wanted clarification there and you gave it.

So true on deep DU DU !

A7 chords, ok, I use the first example mainly in songs I practice but have seen the second diagram fingering, so same chord name, two fingerings/voicings applies here?

Oh boy...test time...ok, if as last time with this exercise, you mean can I see how the degrees in the 'A shape' were raised or lowered and in how many steps/tones/half tones to make the two AM7 chords  as well as the two A7 chords, yes I can. Also, before going further, if you mean for me to show such, I can do that too, if that's your meaning and I'd be glad to later this evening.  But I can easily see how to do that nowadays, especially since you've shown the fully degreed 'A shape' diagram. That makes things a lot easier for me. Yep, I must be learning something ! Thanks OTM, outstanding lesson. !

GuitarZen wrote:

And on 'passing tones', should I think of these notes as transitional, as in moving up or down bass or treble 'lines' (scales?) that lead to a note where otherwise the move would seem 'off' somehow?

...since the ascending/descending tones are linear and sequential, they could be called CHROMATIC, but probably not SCALES since scales typically connotate halfstep/wholestep sequences, which "lines" aren't...

GuitarZen wrote:

...have seen the second diagram fingering, so same chord name, two fingerings/voicings applies here?

...typically, when the d7 note is embeded within the chord shape (for example, the first A7 example, with d7 note on G3-string) it's a good rhythm chord...and, when the d7 note is last note (the second A7 example, with d7 note on E1-string) it's a good melody chord. While both work for rhythm, only the second version is useful for melody...remember, last note played is note "most" remembered.

GuitarZen wrote:

...if you mean for me to show such...

...nope, just checking to see if you were comfortable with your own understanding of what was happening to "make" that chord. I trust you.

...next up is the A6 chord, which (believe it or not) can have four (4) different fingerings! Unfortunately, because of the nut, we can't just continue "down" the neck (flat) from the 7th, so...we have to "fold over" and place the 6-degree note on the D4-string "above" (and thus 'covering') the 5th-degree note on that string:



...this rhtyhm-chord "fingering" works well when playing a descending line, such as A, AM7, A7, A6 for example (more on this when we get to Aminor).

...and, here's the melody A6 fingering:



...now, let's change keys for a moment from "A" up to "B" so we can continue the 6-degree movement on the G3-string...this is a commonly used jazz fingering, but it's often difficult to 'reach' below the 5-fret on the neck because the frets are farther and farther apart:



...so, we have a 4th version: here, we simply "drop" the 5-degree note on the D4-string down to the 3-dgree and use the index finger to cover BOTH the 3 and 6 notes, leaving the little finger on the 3 on the B2-string...notice there's no 5-degree note in the chord, hence the B6(n5) labeling:



...although the 3rd fingering is preferred, this fingering is a good "cheat" for the real B6 in the chord progression BM7, B6, BM7, B6...try it both ways (if your fingers will reach). I honestly cannot "grab" the 3-version for CM7, C6 at fret 3...but DO use it with higher (D, E, F, etc.) chords.

Ok, CHROMATIC but probably not SCALES...half step, whole step sequences, which 'lines' are not.  So 'lines' are random and may not follow half/whole step sequences. So they must be what I hear referred to as 'bass runs or riffs' and treble 'lines' must be 'melodies or leads'.

So in the second example A7, I'm thinking the dominant 7th at E1, fret 3 is the color note in a color chord, and I'm wondering if that is what  makes it a melody chord, or if it's just because the 7th in this voicing is the last note heard.

Yes, I'm comfortable with my understanding of how the two AM7's and the two A7's were derived from the A shape chord. So far so good on that and it's coming a little easier with each lesson, especially when you show diagrams like the A shape that are completely degreed out !

I like the A6's, and especially the 'melody' fingering. Also, I remembered about the 'foldover' this time.  Now then...you've changed keys from A to B...I'm not clear if you're saying these are A6 chords or if you're just showing the continuation of the 6ths in the diagrams. Then right after that you talk about C chords and D E and F chords....I admit I'm a little lost...the only way I'm not lost is if you're showing me 'A shape' B chords and then going on to talk about the C's, then D E F...this is just a guess, but maybe you're referring to the 'A shape' in 'movable chord' terms. Help ! Help !  ~Laughs~  Hey, no headache though !

Great lesson OTM,wow, there's a lot in there...thank you !

GuitarZen wrote:

Ok, CHROMATIC but probably not SCALES...half step, whole step sequences, which 'lines' are not.  So 'lines' are random and may not follow half/whole step sequences. So they must be what I hear referred to as 'bass runs or riffs' and treble 'lines' must be 'melodies or leads'.

...random? no! "Lines" are typically chromatic (e.g.: A, Ab, G, Gb, etc.)...here's what Berklee College of Music author, Randy Felts, says about "Line Cliche's" (Chapter 11) in his book, REHARMONIZATION TECHNIQUES:

"...A line cliche' is a stepwise descending or ascending line that moves against a single stationary chord." page 105.

GuitarZen wrote:

So in the second example A7, I'm thinking the dominant 7th at E1, fret 3 is the color note in a color chord, and I'm wondering if that is what  makes it a melody chord, or if it's just because the 7th in this voicing is the last note heard.

...yes, the "color" note is typically, but not always, synonymous with the melody note..."not always" because sometimes the "color" note can be an 'anchor' note that preceeds the melody by "setting up" a tonality that's held or maintained (called "pedelling") throughout the measure(s)...that's 'why' I mention how some chord combinations "pedel" on specfic notes...same single emphasised note through three or four different chords.

GuitarZen wrote:

Yes, I'm comfortable with my understanding of how the two AM7's and the two A7's were derived from the A shape chord. So far so good on that and it's coming a little easier with each lesson, especially when you show diagrams like the A shape that are completely degreed out!

...good, because once we've covered all five of the CAGED chord "shapes," you should eventually only need to reference the SUMMARY chart occassionally for new or complex chords:



...remember: you do NOT have to memorize each and every one of these chords we've been making (only the "useful" ones to you), you just need to KNOW and UNDERSTAND: (a) "how to" make them and/or (b) "how to" translate them when you see them!

GuitarZen wrote:

I like the A6's, and especially the 'melody' fingering.

...excellent, have you tried playing a melody "line" A6, A7, AM7, A(octave) beginning from that (X 0 2 2 2 2) chord? You should be able to play it with a single sweeping picking motion that ends by "hammering-on" the E1-string the 6, d7 and M7 notes, and then "sliding" up (sharp) with your little finger into the A(octave) note at fret 5.

GuitarZen wrote:

Now then...you've changed keys from A to B...I'm not clear if you're saying these are A6 chords or if you're just showing the continuation of the 6ths in the diagrams. Then right after that you talk about C chords and D E and F chords....I admit I'm a little lost...

...oops, yes, I probably should've been more explicit about (...change keys for a moment from "A" up to "B"...) when I moved from "A-shape" A-chord up two frets to "A-shape" B-chords.

GuitarZen wrote:

the only way I'm not lost is if you're showing me 'A shape' B chords and then going on to talk about the C's, then D E F...this is just a guess, but maybe you're referring to the 'A shape' in 'movable chord' terms. Help! Help!

...exactly, "movable" chords, but, again, I appologize for not being clearer. The A6 "shape" chord, where the 6-degree is on the G3-string, is often a "bitch" to make because of the 4-fret "stretch" between the 6-note and the 5- and 3-notes...especially "down" toward the nut where the frets are further and further apart in distance. However, "up" the neck, where the frets are closer, it's not too bad, especially for D, Eb, E and F chords (examples of "movable").

Ok, so 'cliche lines' are definately in steps. You show half steps, 'A, Ab, G, Gb'. Can you explain the term, 'line that moves against a single stationary chord'? That's a new one on me boss.

I'm getting clearer on 'color note, color chord' and the pedal note...so am I correct in my thinking that for there to be a pedal note, chords for a song would be chosen that maintain a 'same' note throughout the progression or at least a sequence of chords? This just to kind of re-state what you just said in the lesson, which always helps me to remember.

Ok on only having to reference the SUMMARY CHART...eventually, once you've covered all five CAGED chord 'shapes'. Man, I have to say, I really feel like I'm starting to know a little something about theory ! A question on the SUMMARY CHART please....and this may be review, but it occurs to me that R, 3 and 5...in the SUMMARY CHART plus all their degrees apply to all triads?  If that's so and since it may not have occured to me, it would...again if I'm right..make it much easier to degree out triads from a diagram that only showed the R, 3, 5.

Yes, 'how to make them and or translate them when I see them'. I presume the latter means naming a chord on a diagram as before in some test questions where there are dots on frets.

...'excellent, have you tried playing a melody "line" A6, A7, AM7, A(octave) beginning from that (X 0 2 2 2 2) chord? You should be able to play it with a single sweeping picking motion that ends by "hammering-on" the E1-string the 6, d7 and M7 notes, and then "sliding" up (sharp) with your little finger into the A(octave) note at fret 5'....Well, I can play the chords but you've skipped ahead of my understanding a bit...can you break that down into simpler terms? I'm ok with A6, A7, AM7 from the diagrams...A octave no, unless that's what you're referring to with... 'and then "sliding" up (sharp) with your little finger into the A(octave) note at fret 5'...kinda thinking so but then before that with....'hammering-on" the E1-string the 6, d7 and M7 notes,...well hammering on is something I think I can do but the '6, d7 and M7' part confuses me because looking back at the diagrams I don't see where that fits in with,  "line" A6, A7, AM7, A (octave)...did you show the 'A octave diagram or is that what you're saying with '6, d7, M7, sliding up to fret 5' part? I apologise in advance for the way I've formed the question but that's the way my mind works...

Ah ha ! A shape B chords (D, E, F too) and movable.  Ok, no problem and never a need to apologise...these lessons make me think and hey ! I got it mostly right too, how 'bout that?

Also, I know that the more questions I ask, the more I'm going to learn. The lessons are getting long, but it's all good. Thanks OTM, another valuable lesson !

GuitarZen wrote:

Ok, so 'cliche lines' are definately in steps. You show half steps, 'A, Ab, G, Gb'. Can you explain the term, 'line that moves against a single stationary chord'?

...remember my earlier SUMMERTIME example, where the bass note (depending upon "how" you voice the chords) descends a halfstep with each beat, for example (using Nashville "slash" nomenclature): Amin/A, AmM7/Ab, A7/G, Am6/Gb ...samething is used in the Bobby Hebb tune, SUNNY, and Herb Alperts TASTE OF HONEY, etc. (** see below)

GuitarZen wrote:

I'm getting clearer on 'color note, color chord' and the pedal note...so am I correct in my thinking that for there to be a pedal note, chords for a song would be chosen that maintain a 'same' note throughout the progression or at least a sequence of chords?

...yes, two excellent 'example' songs are: ONE NOTE SAMBA and MOONGLOW.

GuitarZen wrote:

...and this may be review, but it occurs to me that R, 3 and 5...in the SUMMARY CHART plus all their degrees apply to all triads?

...exactly, and TRIADS are the foundation building blocks for TETRA chords...formed by simply "adding" a dominant 7th note to become: R, 3, 5, d7. Hence, a TETRA chord is merely a TRIAD chord to which we've added a d7 note to...

GuitarZen wrote:

'how to make them and or translate them when I see them'. I presume the latter means naming a chord on a diagram as before in some test questions where there are dots on frets.

...correct.

GuitarZen wrote:

...Well, I can play the chords but you've skipped ahead of my understanding a bit...can you break that down into simpler terms?

...try this simple Key of A, four chord (chord per beat) "melody" cliche' line:

X 0 2 2 2 2 = A6
X 0 2 2 2 3 = A7
X 0 2 2 2 4 = AM7
X 0 2 2 2 5 = A(octave A') <---this is simply "A-shape" A-chord with A at fret 5 as last note.

...initially, strum the WHOLE chord per beat; but as you play faster, you'll see soon it's easier to simply strum the "first" A6 chord and then simply "hammer-on" the notes on the E1-string while holding and letting the A5-thru-B2 strings "ring/sustain." Try it both ways, ascending (good song ending) as well as descending (quick riff).

(**) example Aminor descending "cliche' line" (cliche' means "commonly used")

5 7 (7) 5 5 5 =     Am / A
5 7 (6) 5 5 5 = AmM7 / Ab
5 7 (5) 5 5 5 =   Am7 / G
5 X (4) 5 5 5 =  Am6  / Gb

...playing full 6-note chords is fine, but, here, I usually play only the D4-thru-E1 strings, so that I start on and emphasize the initial (thus, bass) descending note on each beat. Try it.

Talk about 'breaking it down' for me ! Thanks OTM, I got just about all of the lesson on the first read. Yes, I remember the refs to 'Summertime', 'Sunny' and 'Taste of Honey' and now I understand
'moves against a single stationary chord'...thanks for the refresher there.  Ah ha ! Pedal note, 'same' note example...'One Note Samba'. I remember you making ref to that before..ok, got it now.

'...exactly, and TRIADS are the foundation building blocks for TETRA chords...formed by simply "adding" a dominant 7th note to become: R, 3, 5, d7. Hence, a TETRA chord is merely a TRIAD chord to which we've added a d7 note to...'  I'm getting it slowly but surely ! Gotta remember that basic axiom !  Your statement made me recall an instructor in a music store showing me TRIAD to TETRA and his words were something like, 'and then we add the 7th'. At the time I din't know a TRIAD or TETRA from the door, but thanks to you now I can semi-talk the talk. Walkin' the walk will come later I'm sure ! It sure is going to be easier to use the SUMMARY CHART now too.

The below explains so much. I do have to ask though, would sustaining and hammering on apply more to an electric guitar? When trying that I didn't have much sound left by the time I got to X 0 2 2 2 5=A(octave), otherwise it's great and I can see the usefulness.

X 0 2 2 2 2 = A6
X 0 2 2 2 3 = A7
X 0 2 2 2 4 = AM7
X 0 2 2 2 5 = A(octave A') <---this is simply "A-shape" A-chord with A at fret 5 as last note.

The below is pretty cool and I tried it both ways and there's a lot of usefulness in that too. I see the point of playing them D4-E1 to maintain the bass 'cliche'.  On the 5 X (4) 5 5 5 I tried to finger that and it was awkward at first, then I suddenly realized it's the chord I've know for all these years played ring, middle, index and was able to 'grab' it as you say and I made a great little five? beat (down, rest,up, up down) per chord progression. Hope I'm explaining it properly. Does what I'm doing there have a name?

5 7 (7) 5 5 5 =     Am / A
5 7 (6) 5 5 5 = AmM7 / Ab
5 7 (5) 5 5 5 =   Am7 / G
5 X (4) 5 5 5 =  Am6  / Gb

Outstanding lesson OTM, thank you very much !

GuitarZen wrote:

Yes, I remember the refs to 'Summertime', 'Sunny' and 'Taste of Honey'

...also, the Beatles song 'Michelle.'

GuitarZen wrote:

'...exactly, and TRIADS are the foundation building blocks for TETRA chords...formed by simply "adding" a dominant 7th note to become: R, 3, 5, d7. Hence, a TETRA chord is merely a TRIAD chord to which we've added a d7 note to...'

...both the TRIAD and TETRA chords are composed of "stacked" thirds, ie: I to III, III to V, and V to bVII (ie: bM7 or d7) (...look back at the tonal "spacings" (halfsteps) between each and you'll see they're all "equal number of interval distances").

...little "technical tidbit": I to III defines MAJOR or MINOR tonality; adding V creates a "chord"; adding a bVII creates "anchor/tension" note for higher degrees, ie: 9, 11 and 13th.

GuitarZen wrote:

...now I can semi-talk the talk. Walkin' the walk will come later I'm sure!

...ah, but *the* real question is can you simultaneously "chew gum"??? (ha,ha)

GuitarZen wrote:

...would sustaining and hammering on apply more to an electric guitar?

...typically, yes, but it also "works" OK with acoustics...especially if you "translate" the whole process down to Key-of-G, so the chords become:

3 2 0 0 0 0 = G6
3 2 0 0 0 1 = G7
3 2 0 0 0 2 = GM7
3 2 0 0 0 3 = G(octave G')

...look familiar?

GuitarZen wrote:

When trying that I didn't have much sound left by the time I got to X 0 2 2 2 5=A(octave), otherwise it's great and I can see the usefulness.

...yes, it's usually played "fast" with hammer-ons; and played "slow" as individual strums.

...there's ANOTHER way to play this same sequence (below) down at the nut, using "A-shape" Am chord

5 7 (7) 5 5 5 =     Am / A
5 7 (6) 5 5 5 = AmM7 / Ab
5 7 (5) 5 5 5 =   Am7 / G
5 X (4) 5 5 5 =  Am6  / Gb

...notice how the 6-degree note is "folded-over" onto the D4-string:

X 0 2 (2) 1 o =     Am / A
X 0 2 (1) 1 o = AmM7 / Ab
X 0 2 (0) 1 o =   Am7 / G
X 0 4 (2) 1 o =   Am6 / Gb

...where: "o" = usually is not played, but can be if you wish.

...next "A-shape" chord is the triad Aaug = A#5 = A+5



...again, "rhythm" chord on middle 4-strings and "melody" chord  ("color" note last) on treble 4-strings...bass 4-string chord almost never used (no 3rd).

...why the emphasis on triad above? because, only 3-notes, not 4, are needed in a TRIAD chord, thus a 4-note 'fingering' will ALWAYS contain a redundant note...which one is your choice.

"I to III defines MAJOR or MINOR tonality; adding V creates a "chord"; adding a bVII creates "anchor/tension" note for higher degrees, ie: 9, 11 and 13th.".....So much to remember but thankfully, when you see the opportunity, you remind me of facts and rules...the above is big and I need to repeat that to myself over and over.

Well, now that you mention it, I can chew gum, yes ! I couldn't before though.


3 2 0 0 0 0 = G6
3 2 0 0 0 1 = G7
3 2 0 0 0 2 = GM7
3 2 0 0 0 3 = G(octave G')  Well, yes it does look familiar but I don't think you mean just from the 'Make any G' lessons, so it must be something more significant...tell !

X 0 2 (2) 1 o =     Am / A
X 0 2 (1) 1 o = AmM7 / Ab
X 0 2 (0) 1 o =   Am7 / G
X 0 4 (2) 1 o =   Am6 / Gb

...where: "o" = usually is not played, but can be if you wish.

The above sounded ok, but I had a little trouble, surprisingly, playing what appears simple on paper.....the Am6 / Gb but if I used it much at all I'm sure I'd get it.  Couple questions there though. the X 0 2 (2) 1 o, where the 'o' isn't usually played... does the lower case 'o' mean the note at E1 is optional since you say I can play it if I want?  I feel like I might be forgetting something from a lesson way back in the 'Make Any G' segment.

Aaug/A+5, mostly got everything there...not much use for the bass chord...one thing though, in:

"...why the emphasis on triad above? because, only 3-notes, not 4, are needed in a TRIAD chord, thus a 4-note 'fingering' will ALWAYS contain a redundant note...which one is your choice. "

....not so much the front of it, I remember that part and the more I read the rest of the above, the closer I am to getting it but the 'redundant' note..is it because there are the three +(sharped)5ths? And I remember if I raise a 3rd or 5th in a triad or tetra chord, I have to do the same to all the 3rds and 5ths...so it's not that. But 'redundant' threw me !

Great lesson OTM, thanks ! I'm spacing out responding a bit due to heavier schedules, but I do like to keep this fresh.

GuitarZen wrote:

"I to III defines MAJOR or MINOR tonality; adding V creates a "chord"; adding a bVII creates "anchor/tension" note for higher degrees, ie: 9, 11 and 13th.".....So much to remember but thankfully, when you see the opportunity, you remind me of facts and rules...the above is big and I need to repeat that to myself over and over.

...thanks, I've been involved in teaching for quite awhile.

GuitarZen wrote:

3 2 0 0 0 0 = G6
3 2 0 0 0 1 = G7
3 2 0 0 0 2 = GM7
3 2 0 0 0 3 = G(octave G')

Well, yes it does look familiar but I don't think you mean just from the 'Make any G' lessons, so it must be something more significant...tell !

...it's a often used "run," try playing it as a "melody" run like this:

a) don't play the E6 and A5 strings.
b) begin with accentuated "open" D4 string.
c) then, sweep across the "opne" G3, B2 and E1 strings.
d) maintaining SAME string-to-string note tempo/rate timing, immediately follow the "open" E1-note by playing the single notes F, F# and G up the E1 string.

...should sound familiar (could also be played "finger-picking" or "rolling arrpegio" style as well)

GuitarZen wrote:

X 0 2 (2) 1 o =     Am / A
X 0 2 (1) 1 o = AmM7 / Ab
X 0 2 (0) 1 o =   Am7 / G
X 0 4 (2) 1 o =   Am6 / Gb

...where: "o" = usually is not played, but can be if you wish.

Couple questions there though. the X 0 2 (2) 1 o, where the 'o' isn't usually played... does the lower case 'o' mean the note at E1 is optional since you say I can play it if I want?

...yes, "optional" is a true/valid translation.

GuitarZen wrote:

I feel like I might be forgetting something from a lesson way back in the 'Make Any G' segment.

...no, just the example that I used.

GuitarZen wrote:

...not so much the front of it, but the 'redundant' note..is it because there are the three +(sharped)5ths?

...it's not that deep, just simply that playing TRIADS using 4-note fingerings means YOU have to decide/select/choose WHICH note (R, 3, 5) will be played TWICE within the chord...and the "answer" boils down to just: (a) ROOT and THIRD will be covered by bass player (if one is present), which (b) basically leaves the ±5th as the "by default" selection. And, since only three notes are NEEDED for a TRIAD chord, the "doubled" note, whatever it is, is redundant, meaning it's there, but not required to be there as a repeated tone.

GuitarZen wrote:

And I remember if I raise a 3rd or 5th in a triad or tetra chord, I have to do the same to all the 3rds and 5ths...so it's not that.

...excellent, as MANY novice players often "forget" this point when they're introduced to extended chords with "added/altered" +5 and -5 notes! Give yourself another GOLD STAR. 

...and, "speaking of" +5 and -5 notes, next up is the Adim5 = Ab5 = A-5 chord:



...notice, that neither of the V-degrees notes on E6- or E1-strings can be used and so are "X" not played; this is a middle 4-note chord only (when played at the nut).

You're welcome and it shows. I mentioned way back that I was amazed with your patience. I think that comes with having been a teacher for a good while !


"...should sound familiar (could also be played "finger-picking" or "rolling arrpegio" style as well)".....Your explanation sure made it easy to play...guess that's why beginning guitar players hire instructors ! The 'run' sounds good but I still don't recognize it and I tried various tempos and 'timings'.


"does the lower case 'o' mean the note at E1 is optional since you say I can play it if I want?" Ok, thanks...I was hoping I had that right !

"the "doubled" note, whatever it is, is redundant, meaning it's there, but not required to be there as a repeated tone." Ok, I'm clear on 'redundant' in the above usage now.  Question though...could two 5ths give the chord 'richness'? Is that a music theory word?

Cool, Gold Stars are back ! 

Adim5 = Ab5 = A-5 chord: Now I'm getting somewhere...even before I looked at the great diagram, I fully expected to see the flatted 5th at D4. Ok, middle four chord only. Got it ! Great lesson OTM, thank you very much.

GuitarZen wrote:

Ok, I'm clear on 'redundant' in the above usage now.  Question though...could two 5ths give the chord 'richness'? Is that a music theory word?

...yes, 'richness' = 'fullness'

GuitarZen wrote:

Adim5 = Ab5 = A-5 chord: Now I'm getting somewhere...even before I looked at the great diagram, I fully expected to see the flatted 5th at D4.

...excellent, shows you're understanding the "process" of "how" the different chords are actually being "made"!

...next is the Asus4 chord, where the III-degree note is raised (sharp) a half-step:



...similarly, the Asus2 chord is where the III-degree is lowered (flat) a full-step:

 

...they're both only middle string shapes; can you guess why?