...first, a refresher of the DEGREES of a chord, which are typically written formally as Roman Numerals (DEGREES, top), but everybody simplifies them to just arabic numbers (degrees, 2nd row). The degrees are based upon the notes and spacings of the notes in a Key of C octave (e.g.: from C to C'-octave):



...notice how some degree notes are annotated "2/9", "4/11" and "6/13"...this is because in piano theory, they would, by definition, be in the next-octave ABOVE the basic degree notes....this, however, is NOT always possible with guitars, since we don't have two hands to make "extended" chords, so with guitars the fundamental rule for these chords is to play a dominant 7th chord with any 2, 4, 6...thus, the rule becomes:  9 = 7 & 2;  11 = 7 & 4;  13 = 7 & 6.  [note--dominant 7th (d7) is not the same as Major 7th (M7)]

...second, while most people memorize the chord notes by "name" those same notes can likewise be associated with their degrees (see below)...and this is one way (among many) of learning how to make just about any chord!



...notice how the notes progress from Root to third to fifth as the strings are played bass to treble.

...you will be adding or lowering notes above/below a ROOT, 3rd or 5th note, and often it doesn't matter which one you choose, although there are some movements that certainly are more easily fingered than others!

...you ready to begin?

I read and re-read all of the text OTM and I had a couple of satoris along the way...I looked at the G  by note, also by degree and those are making sense to me for the first time. So yes, I'm ready to begin ! Dang this place is great !

Happy Newyear !

GuitarZen

...OK, let's start with G-minor (Gm), which is comprised of a Root, minor 3rd and 5th (e.g.: R, m3, 5).

...with TRIAD chords, when a change is made to ONE note, it must likewise be made to ALL similar notes, so, since we cannot "lower" the 'open' 3rd degree that's on the B2-string, we LOWER the 3rd a HALFSTEP (thus, making it minor-3rd, or m3) on the A5-string, and "play a covering note" over the B2-string note by playing a 5th (3 halfsteps above the 3) at fret 3 on the B2-string (a very common "folk" fingering by the way).

...here's the G-chord with ALL of its degrees shown



...and here's the Gm chord, showing the 3rd lowered to the m3 on the A5-string and the 3rd on the B2-string being "covered" by the 5th on the B2-string:



...an important point to notice and remember: the augmented 9th (+9) and the minor 3rd (m3) notes are the same note! When you see a +9 or #9 note, simply think MINOR chord!

...OK, the next chord will be G augmented 5th (also Gaug, Gaug5 or G+5).

OTM, it's becoming understandable, lowering  the 3rd in the G to the m3, 'covering' the 3rd on the B2 with the 5th on the B2, creating the Gm...

A question before moving on to the Gaug5 if I may, what does 'covering' translate to in the context used, I think I know but I'm not wanting to develope a misconception right out of the gate.  Ok, ready for the G augmented 5th and I'll be practicing a G, Gm change till that lesson.

Happy New Year !

GuitarZen

..."covering" means to "play over" or "play instead of," as in: play a 5th over the (B2-string) 3rd, or play the 5th instead of 3rd.

...now, some background information. Because 3 frets are about the limit that our fingers can "reach," that is all we need to worry about going above / below the basic triad notes (ROOT, THIRD and FIFTH), like this:

NOTE: above = higher in pitch; below = lower in pitch

above ROOT = (-9), (2/9), (+9/m3)  <--remember: +9 = m3!
below ROOT = (M7), (d7), (6/13)

above THIRD = (4/11), (-5), (5)
below THIRD = (+9/m3), (2/9), (-9)

above FIFTH = (+5), (6/13), (d7)
below FIFTH = (-5), (4/11), (3)

...notice how each degree note can be made at least two different ways!

...also, so far I've written the dominant 7 as "d7" to clearly differentiate it from the Major 7; it is, however, normally written as just "7" which is what I'll be using from now on.  Maj7 or M7 are used to indicate the major 7th, I will use just M7.

...now, "building" the Gaug (or Gaug5) chord is simple, we just "raise" (augment) the 5th degree; and since there's only one 5-degree note in our basic folk G-chord, it's a simple one-finger, one-fret move, e.g.:



...and, we create a G diminished (Gdim) triad chord by simply combining the minor with flatted (diminished) FIFTH-degrees/notes!



...there are two ways to finger this chord: (a) with R in bass (G note E6-string) or (b) with m3 in bass (Bb note A5-string)...notice that both chords "skip" ("X" = do not play) the D4-string because there's no note within easy reach that we can play or cover.

...with a little practice you'll soon be able to use your index-finger to "ping-pong" between the m3 and R notes (ala' contra-bass) without moving the other fingers.

Thanks for explaining 'covering' OTM, I get it.

Din't think the reach for Gm was going to be so difficult but I'm getting it...any ojections to me using a capo up the neck a ways, sounding in other keys till I become more familiar and am able to chord without the capo or would that defeat everything?

Gaug was no problem and I am re-reading everything each time and it's becoming more and more clear.

On the Gdim, am I correct that you are showing both fingerings superimposed on the fingerboard? On my screen while looking at the Gdim example I see no X on D4 but  I see from the chordbook.com chordbook that Gdim is played with D4 x'd.

Whew ! Last question...and yep, I'm really new...what is 'contra bass' please? Ping ponging the index finger from m3 to R is easy, I like that and can see the use of it ! 

Ok, I hope you're getting some grins from this because I'm sure enjoying your help OTM ! Eagerly awaiting your next 'G' building lesson !

Happy New Year,

GuitarZen

GuitarZen wrote:

On the Gdim, am I correct that you are showing both fingerings superimposed on the fingerboard? On my screen while looking at the Gdim example I see no X on D4 but I see from the chordbook.com chordbook that Gdim is played with D4 x'd.

...yes, both fingerings are superimposed; and, the "X" should be visible at the bottom of the illustration, not at the top.

GuitarZen wrote:

Whew ! Last question...and yep, I'm really new...what is 'contra bass' please? Ping ponging the index finger from m3 to R is easy, I like that and can see the use of it !

..."contra bass" is the repeated movement back-and-forth between bass ROOT to FIFTH in polkas and many country-western songs...which you might recognize from the C-chord.

Ok OTM, I see the X for D4 and I understand 'contra bass' now, thank you. I won't be using the capo after all for these exercises. Gm, Gaug and Gdim are coming along and I'm building smoothness in the changes.

...I'm gonna be off-line today, but will resume on Sunday with Gadd2, Gsus2 and Gadd4, Gsus4 (they're all kinda related).

That was ok OTM, I was out almost all of Saturday too...I may be able to get in Sunday for a bit to have a look see....thanks for these lessons...I really appreciate them ! Hope you're going to have a great New Year's Eve...

Happy Holiday !

...now the "...addX..." chords -- here, we're simply "adding" the specified degree note to the triad so that it becomes: ROOT, THIRD, FIFTH, "X"-note. The most commonly used are "add2" (functionally identical to "add9") and "add4" (sometimes seen as "add11").

...notice how the 2/9 and 4/11 and 6/13 degree notes are just "octaves" of one another; in piano theory they're played separately (e.g.: 2, 4, 6 with left hand and 9, 11, 13 with right hand), but guitars aren't piano's, so WE disregard the "octave-Rule" and treat them the same, hence: 2/9, 4/11 and 6/13...although you will sometimes see #11 for b5 and b13 for #5:


NOTE: to better "see" the above chart, place the pointer on the chart and click the "right" mouse button and then click on VIEW IMAGE.

...the IMPORTANT point to remember is we start with the basic R,3,5-triad and merely "add" the specified degree note, thus making a FOUR-note chord with no other changes (important); and, the "addX" notation applies to both MAJOR (R,3,5) and MINOR (R,m3,5) chords...it doesn't matter.



...notice on the Gadd2 chord how we have the option of playing first add2 (3rd down to 2nd on A5-string) or second add2 (R up to 2nd on G3-string)...likewise with the Gadd4 chord (3rd up to 4 on A5-string and/or 3rd up to 4 B2-string)...since you're "adding" a single note to the existing triad, you normally would NOT double the added note by playing it twice since then you'd be eliminating one of the triad notes in the process...which would make the chord a SUSTAINED (susX) chord!

...what's the difference?

...with a sustained (susX) chord, the THIRD is being "replaced" (or "sustained") by its lower neighbor SECOND (e.g.: sus2) or its upper neighbor FOURTH (e.g.: sus4)...notice that it's STILL a triad (3-note) chord...except that EVERY 3rd-degree note has been "replaced" by a 2nd or 4th-degree note.

...so, remember: there is NO 3rd-degree note in sus2 (R,2,5) and sus4 (R,4,5) chords...notice the "trick" of using the 5th to "cover" the 3rd on the Gsus2 chord.



...and, if you see just Gsus with no number, just assume it's a Gsus4.

Good afternoon OTM, I read over the new lesson a couple of times and I'll put it into practice sometime in the morning since I'm heading out for the rest of the day and night.

So if we could pause where we are, that would be good. Next postI make tomorrow I will have read everything again and will understand and will have put into practice or I'll have questions.

Happy New Year !

...and a "Happy New Year" to you, too!

Thanks OTM...ok, going into the new year with a question about Gsus2 & 4,  to be clear that they are still 3 note chords would be to say that in Gsus2 since the combination of the A5 second and the G3 second count as the same note? And in Gsus4, the A5 fourth and the B2 fourth count as the same note?  I see the notation (R, 2, 5 )for Gsus2 and (R 4, 5) for Gsus4 but since I see that I'm using four fingers to create? shape? play? each of the two chords, I thought I'd better ask.

Ok, I'm ready to go forward OTM, thanks for everything so far.

..."sus" chords have only three notes, but any of those notes can be "doubled" or even "tripled"...the problem is having 'enough' fingers to fret all those notes (ha,ha).

...the illustrations show ALL possibilities (usually two different fingers) and all changed notes should be used, but only ONE is needed (remember, it's still a triad).

...usually, the "simple" 3-note version is used for "fast/quick" chords and the "full" 6-note version is used for "slow/full" strumming.

...ready to move up to 4-note chords?

Ok OTM, so the blue dot is the alternate fingering in the Gsus2 illustration? Also what about the  Gsus4,  am I mistaken that it looks like I would use four fingers/notes to form a Gsus4? Not totally confused, but just wanting to be sure...but yes, ready to move up to 4 note chords !

...yes, you are correct about the Gsus2 chord, the "blue" dot is optional, because it's merely "doubling" the already present 2nd-degree note that's being played on the A5-string.

...on the Gsus4 chord, however, both "4-degree" notes MUST be played...or, alternatively, that string must be "skipped"...why? because not doing so, would allow the 3rd-degree note to be sounded, which is NOT permitted in a "sustained" chord, hence, every 3rd-degree note must be raised to 4th (or skipped).

...so, do you now recogniize difference between the "optional" 2nd in the Gsus2 chord (a 'doubled' note) example and the "manditory" 4th in the Gsus4 (to 'cover' the 3rd)?

...so, the "lesson" here is: change it, cover it or skip it!

============ 4-NOTE (Tetra) CHORDS ======================

...and, now, we move UP from 3-note triad chords to 4-note tetra chords! but, bowing to piano theory, we'll begin with the Major 7th, not the dominant 7, and "work" our way chromatically DOWN through the degree-notes!

...but, "why" start with the Major 7th (M7)? because it's the "next" note above the TRIAD...look again at the Degree-chart and you'll see that the notes comprising a triad chord are merely "every other" degree-note between the ROOT and the FIFTH...and when this process is continued again, the 6th-degree is "skipped" and the Major7th (VII)-degree is "used."



...and here's the GM7 chord:



...as you can see, two possible G Major7th (M7) degree notes are shown: (a) the "blue" dot is less-commonly used version; and (b) the "black" dot on the E1-string is the most-commonly used version (for 6-string strumming)...as you can guess, you cannot (not enuf fingers!) easily play BOTH of the M7 notes in a single chord

...also, with the M7 being the "last" note in the R,3,5,M7-scale, it typically sounds "best" being the last note played in the chord (for emphasis, e.g.: melody)...but does not have to be last, just "in" the 4-note chord somewhere (rhythm chord).

Yes OTM, now I do...I was thinking 'blue' perhaps meant an alternate chord, but now I see it's an optional note. Got it and yes, I see that the 4th is required unless the string is skipped so as not to allow the 3rd to be played.

I also understand change, cover, skip.  On to the Major 7th and GM7 where I admit confusion seeing the blue...optional note? and hearing you say the black on E1 is more common but I can't play both because I don't have enough fingers. Yet I only see four notes. Do I misunderstand the blue notation in this usage? Is it 'instead of' black on E1 or used with black on E1 but optionally?

I'll leave the question there in case I'm not asking it correctly so please say if I am. Din't mean to hold up progress but I think it better to ask then to continue with an presumption.  You say !

..."officially" only a single Major-7th (VII) degree note is needed to "make" a M7-chord -- thus, either the blue-dot or the black-dot could be used -- but, both could also be used (doubling the M7) if it's physically possible to do so.

...as mentioned, the blue-dot chord would typically be played as a rhythm chord where the treble strings B2-E1 were not played, essenitally making it a 4-"bass"-string chord...while the black-dot chord (no blue note used) is essentially a full, 6-string chord and is far more commonly used, especially for melody chords, where emphasis is placed on the last (highest) note played in the chord (e.g.: "chordal" melody).

...although some chord "shapes" may only use four fingers, they require those fingers "reach" contortionistic postitions and are thus almost impossible to play....that's why I show both  -- they're both useful chords -- e.g.: two different ways of "voicing" a GM7 chord.

...when we get into making "F"-key chords, you'll discover a GM7 derived from the E-shape chord which is (essentially) the blue-dot chord.

OTM, it can't be made any clearer than that ! I understand now, two voicings, either or both M7's could be used if physically possible and I'm clear now that though some four finger chords are nearly impossible to play and that is why you show  more than one 'voicing' of some chords. Thank you ! I'm ready to move on when you are. Either blue or black, or both blue and black if one can make the reach.   Yep, got it !