...OK, we began with the ROOT note on the E6 bass string for the "G-shape" chord...and, now, we move "over" one string so the ROOT note is on the A5 string for the "C-shape" chord:

C Major or simply C chord:


...notice how the 5 and R notes are "adjacent" on the E6 and A5 strings, so are good candidates for "ping-pong" contrabass playing while chording, e.g.: FIRST, hit the 5th on E6-string as bass (skipping R on A5-string) and strum the remaining chord notes (strings D4-thru-E1); then, on alternate downbeat, hit the R on A5-string and again strum the remaining chord notes...works great in many C&W, cowboy and polka-tempo songs.

C Major 7 or CM7:


...this is the most common fingering for both folk, rock, country and jazz.

C dom.7 or simply C7:


...although this is the most commonly used C7 version (>99%), it is NOT the only version, below is the 4-note treble-string version often used in jazz:

C dom.7 or simply C7:


Test question time! -- Can you think of another, simple, one-note change, which could also produce a C7 chord?

Excuse the delay in beginning OTM, I traveled to do a show.

Great way to begin the 'Make Any C Chord' post ! Now I fully understand 'ping ponging' as in the C/g diagram !

Chordbook shows 'Cmaj7' with E6 'x'd', but seeing and playing as in your diagram for CM7, I like that version much better and will add that to my chord library. Oh and I like how your CM7 is 'made' with a single lift at B2, fret 1 when progressing from the C/g opposed to what would be a double lift at B2, fret 1 along with another lift at E6, fret 3. Not difficult for you masters, but for us beginners it's a great shortcut and CM7 appears frequently in songs I try to follow the chord progressions in. (e.g. Year Of The Cat)

The fingering in the first C7 diagram is the one I use only I 'x' E6, should I be playing E6, fret 3 and if so, by way of my thumb?

I've seen the second example of C7 when I look at 'inversions' in the chorbook and yes, I knew there were more voicings. Test time, well, I'm looking at the C Major (C) diagram and I wonder if I can change (your clue I think) B2, fret 1 over to G3, fret 3, while 'xing' B2 and E1, producing some kind of Bass  C7? It would look kinda the opposite of your second C7 diagram. Hope I'm remotely close ! Great lesson OTM, Thank you very much !

GuitarZen wrote:

The fingering in the first C7 diagram is the one I use only I 'x' E6, should I be playing E6, fret 3 and if so, by way of my thumb?

...actually, yes, you can, but depending upon the song you could also either (a) "ping-pong" back-n-forth, or (b) "stradle" both notes at once your ring-finger. Using your thumb is fine, heck, Jimi Hendrix and many folk singers (Dylan), etc. do it.

GuitarZen wrote:

Test time, well, I'm looking at the C Major (C) diagram and I wonder if I can change (your clue I think) B2, fret 1 over to G3, fret 3, while 'xing' B2 and E1, producing some kind of Bass C7? It would look kinda the opposite of your second C7 diagram.

...you're thinking too "deep"...think back to the SUMMARY chart:



...the "lesson" here is to think: "...Root-down-to-d7th..." so the "new" C7 chord would be:



...which is "made" by simply dropping the "C"-root note down one whole step (2 frets) to "Bb"-note on A5-string...makes a nice four-note, middle-strings, C7 chord (E1-string usually not played).

NOTE: notice the "bolded" numbers above/below the [ROOT], [3rd] and [5th] boxes, they're the typically used changes { hint }.

...does this make sense to you? Do you "see" what was done to change it from C to C7? (and, yes, there's a "reason" behind showing you this "odd" chord...coming up next!)

Ok on the C7 and ping ponging, straddling and even the use of the thumb...hey, if it's good enough for  Bob Dylan and since it was good enough for Jimi Hendrix, it's gotta be good enough for me ! More than just how to do it though...I"m wondering if I should be playing the E6, fret 3 in my 'standard' C7?

Wow, how'd I miss lowering R to d7 at A5, fret 1? I think I got it in my head that I needed to sharp to get the d7 somehow, but to be honest, I just din't see it since I was 'looking up'...which is odd, because I've always tended to 'look down' in life and I've 'found' all kinds of things while doing so.  But yes sir, I see clearly now how I could of lowered C Root to d7 at A5. Simple. Thinking too deep and making more of it than I need to !  Great lesson there OTM ! I"ll watch for that.

...actually, that C7 chord exercise was a "lead-in" for the C Major 6th or simply C6 chord!



...at left is the "normal" C6 chord...but, at right is another version "made" by continuing DOWN with the d7th down to a 6th note...!! WHA-LA !!...C6 and Am are same chord (if you ignore the 5 on E6-string)...the notes are just in different order!

...you can finger/play the chord EITHER way.  I use the left-version for slow, full chords (omitting the E6-string) and the right-version for fast-paced chording because its faster/easier to make.

...see how "sneakily" I "strung" you along (pun intended) from C7 to C6 and Am!

...so, the slash chord designation Am/C would actually be a C6 chord (think about it)!

To review a bit on 'making the changes' on C to make an other than 'normal' C7 chord...I see that dropping the R a whole step  to Bb, (d7) does the job. Yep, I see the 'bolded' hints, I'll watch for those. Yep, it all makes sense now.

Ok, the  C Major 6th or C6 diagrams...neat...yep, you 'strung' me along from C7 to C6, Am alrighty ! Yes, I clearly see where the slash chord Am/C works, reaching over from Am and fretting A5, 3rd fret, or simply playing the C6, with E6, fret 3 ommitted. Do I get it?  I think I do. Good stuff  and a good lesson OTM, thank you.

...next, is the Caug, Caug5 or C+5 chord:



...here, you have two options (not enough fingers!): (A) finger the +5 note on bass E6-string...or, (B) finger the +5 note on the G3-string and "omit" the E6-string.

...normally, I play the "center four strings" voicing (e.g.: R to R') , even at the nut, but it's not critical. Notice how the fingering is simply a cowboy "F"-chord (ignoring E6 and E1 strings) that's been moved over one string toward the bass .

...remember, the 'basic' triad 3rds and 5ths must be either changed, skipped, or covered as appropriate.

Caug, Cuag5, C+5 fairly easy and I can reach the 'play E6 version' ok, though awkward at first.

When you say, 'I play the center four string voicing, even at the nut' does that tell me this is a 'moveable' chord, but not the 'played' E6 version isn't?  Change, skip, cover 3rds and 5ths in the basic triad, leaving the R note be...I'm glad you keep hammering that in ! Good lesson OTM, thank you.

GuitarZen wrote:

When you say, 'I play the center four string voicing, even at the nut' does that tell me this is a 'moveable' chord, but not the 'played' E6 version isn't?

...yes, all chords (except those containing "open string" chords) are inherently "movable."

...here's the Cdim5, Cdim, C-5 chord:



...with this chord (as with m3's), EVERY 5th must be flatted, covered or omitted.

...TEST question: what's the most "logical" note to use as a "cover" note for most chords? or, how to "eliminate" the "X"-string from the middle of this chord.

Ok on the 'inherently movables'...I thought/hoped so.

Are there options for playing the Cdim5/C-5 OTM? Or is the exercise to 'fix' it so one can comfortably play it? (Not enough fingers)

I would think since we can't lower the 5th at G3 'covering' it with a Root note would 'eliminate' the X string from the middle of the chord. I have a feeling I'm leaving something out of the 'equation' though...and I know you'll tell me.

So, does this mean a Root note is the most logical 'cover' note for most chords?

Great lesson OTM. Thought provoking to say the least. Simple stuff for the masters among you but heady stuff for a beginner. Thank you !

GuitarZen wrote:

Are there options for playing the Cdim5/C-5 OTM? Or is the exercise to 'fix' it so one can comfortably play it? (Not enough fingers)

...exactly! a GOLD STAR for the student!

...remember the four tetrachord notes (R, 3, 5 and d7), well simply "adding" a 7th to the dim5 (for easier fingering) is a common "trick" (similar to G7+5 for G+5 that we covered under E-shape chords).

...here's the Cdim5/add7 or simply Cdim7 = C¬? chord:



...notice how adding the YELLOW  "7"-note gives us two easy 4-note fingerings: (A) -5, R, 3, 7 on the bass strings and (B) 3, 7, R, -5 on the treble strings. The right diagram shows how it can also be derived from a treble C7 chord).

GuitarZen wrote:

So, does this mean a Root note is the most logical 'cover' note for most chords?

...actually ANY of the "normal" chord notes (R, 3, 5 and 7 if present) are good "cover" candidates.


P.S.--to see some of my other music ariticles, vist this website: http://www.angelfire.com/fl4/moneychord … earle.html

Ok, I don't want to let the 'Gold Star' go to my head but I'll take it !

Cdim5/add7 or simply Cdim7 = C¬? chord, oh..good stuff here...I like the duality of the Cdim7/Co (don't know how to make the 'o' appear up higher like you do in the diagram, so don't mistake it for 'open' boss) .i.e, two four finger chords. one bass, one treble.

R 3 5 d7 tetra chord degrees....gotta remember that. I hope you keep poudning that into my head.

Ok on R 3 5 7 being good 'cover note' candidates but you asked which was the most logical ..was that case sensitive and if not, which is the most "logical" note to use as a "cover" note for most chords?" 

Great lesson as usual OTM, thank you very much and the "Gold Star" made my day !

GuitarZen wrote:

R 3 5 d7 tetra chord degrees

...yes, its an important point to remember: TRIAD = R, 3, 5; but, TETRA = R, 3, 5, 7 (and, it's a dominant 7th, unless specifically noted as Major 7 or M7).

GuitarZen wrote:

Ok on R 3 5 7 being good 'cover note' candidates, but you asked which was the most logical ..was that case sensitive and if not, which is the most "logical" note to use as a "cover" note for most chords?"

...the question "...most logical?" has two answers:

1st--the closest R, 3, or 5 degree note

...followed by...

2nd--the closest d7 (but only if chord is NOT Major7th!), or 9th, or 11th, if it's a 13th chord (remember, those notes are usually "dropped").

...up next is the Csus4 or often just Csus chord:



...this chord can be "played" in three different 4-note fingerings:

A) bass chord:      5, R, 4, 5
B) "center" chord: R, 4, 5, R
C) treble chord:    4, 5, R, 4 <---often a "melody" voicing because it 'ends' on the 4th-degree tone.

...one thing you'll notice is that I pretty much concentrate on 4-note voicings because (a) they're easier to finger; (b) they're faster to finger; (c) they share "common shapes"(!); and (d) they're usually all you need.

(!) more on this aspect later.

Yes, I'm trying real hard to remember tetra 7th is dom unless otherwise noted, i.e. M7, Maj7.


Ok, good cover note...R 3 5 followed by  7th, (d7) remembering: (but only if chord is NOT Major7th!), or 9th, or 11th, if it's a 13th chord (remember, those notes are usually "dropped").  Gotta remember that.

All three alternative fingerings for Csus4 (Csus) have turned up in songs I've played. I've been using the R 4 5 R (center chord) in 'Pigs On The Wing'. By the way, I wasn't familiar with the terms, 'Bass, center and treble' chords until you clued me in on that. This lends a perspective that makes a lot of things easier to remember regarding multiple fingers of the same 'named' chord. I like it.

'Melody voicing, ending on the 4th degree'.....4th=color note?

I thought about 4 finger chords/4 note voicings being easier/faster to finger and I guess I want to know compared to which but I know you're going to say more later on so I'll wait, but I wanted to write down that I thought about it.

Outstanding lesson OTM, thanks....and I too wish whiskey could be poured through the ether and come out somewhere else !

Cheers friend !

GuitarZen wrote:

'Melody voicing, ending on the 4th degree'.....4th=color note?

...another GOLD STAR for the student, my friend!

GuitarZen wrote:

I thought about 4 finger chords/4 note voicings being easier/faster to finger and I guess I want to know compared to which but I know you're going to say more later on so I'll wait, but I wanted to write down that I thought about it.

...believe me, making your fingers "work" with just four notes & string-position(s) is MUCH easier and faster than trying to make them work with six notes & string-positions...especially with jazz, where a common playing style is to "...hold two, move two" when voicing and playing chords...with two fingers ALREADY in position, all you have to do ( *IF* you correctly picked the right fingering/voicing in the first place) is simply "move" the other two fingers! BUT, as always, it's "...easier SAID, than DONE" (ha,ha)!

...next "C-shape" chord is the Cminor = Cmin = Cm chord:



...notice how the "open" 3-degree note on the E1 string has to be "covered" by the 5-degree note at fret 3, because of the "rule" that ALL III & V degree notes (and their subsitutes, e.g.: sus2 and sus4 for III and dim5 or aug5 for V) MUST be voiced the same.

...however, this "rule" does NOT apply to "color" notes; for instance, a C7+5 chord can (theoretically) have BOTH normal 5 and +5 notes present...here, the "+5" is truly a "color" note and NOT a foundation (R, III, V and often VII) note.

...this chord, too, can be played in three different 4-note voicings:

BASS......5, R, m3, 5
Center....R, m3, 5, R  <---most common for rhythm
TREBLE...m3, 5, R, 5

Great ! Hey, something must be sinking here.

.....easier said than done...I can see that it would all depend as you say, on whether the right voicings had been chosen in the first place. So 'hold two move two'....jazz mantra. Ok, that's good to know and I'll take your word for it and will no doubt come to learn that '4 is easier than 6' !

You said, '...notice how the "open" 3-degree note on the E1 string has to be "covered" by the 5-degree note at fret 3, because of the "rule" that ALL III & V degree notes (and thier subsitutes, e.g.: sus2 and sus4 for III and dim5 or aug5 for V) MUST be voiced the same.'....D

Does this statement have something to do with the fact that like frets played on E6 and E1 are the same note, so if the 5th is fingered at E6, it has to be fingered (3rd covered) at E1? Even convolutedly? Is that a word? Thank you OTM, another great lesson. I like the Cm voicings BASS......5, R, m3, 5
Center....R, m3, 5, R  <---most common for rhythm
TREBLE...m3, 5, R, 5....I had no idea the several four note chords were right 'there' in front of me while using the 5 R m3 5 R voicing. (Not easy like the  above 4 finger voicings)  I'm liking this good stuff !

GuitarZen wrote:

So 'hold two move two'....jazz mantra.

...the article posted over on MONEYCHORDS illustrates this concept...and shows the jazz "minimum" finger movement mantra too!

GuitarZen wrote:

You said, '...notice how the "open" 3-degree note on the E1 string has to be "covered" by the 5-degree note at fret 3, because of the "rule" that ALL III & V degree notes (and thier subsitutes, e.g.: sus2 and sus4 for III and dim5 or aug5 for V) MUST be voiced the same.'....D

Does this statement have something to do with the fact that like frets played on E6 and E1 are the same note, so if the 5th is fingered at E6, it has to be fingered (3rd covered) at E1?

...actually, such notes must be either changed, covered or dropped (remember!?!)...here it was necessary beause as an "open" string note, we could NOT "lower" (flatten) the 3rd-degree down to m3, so "next" best thing was "cover" it with a redundant 5th-degree note.

GuitarZen wrote:

I like the Cm voicings:
BASS......5, R, m3, 5
Center....R, m3, 5, R  <---most common for rhythm
TREBLE...m3, 5, R, 5
....I had no idea the several four note chords were right 'there' in front of me while using the 5 R m3 5 R voicing. (Not easy like the  above 4 finger voicings)

...maybe now you'll better understand "why / how" 4-note chords are easier than 6-note chords! They (usually) provide you with THREE different fingerings/voicings (bass, center, treble) for MOST chords...the "exceptions" are chords where the "color" notes are 'clustered' and NOT contained in all three fingerings...but, that's not too common (but, DOES occur, especially with "E-shape" chords where the E6, A5 and D4 strings are R, 5, R because there's no easily reached m3rd-degree note).

...next up is the CminMaj7 or CmM7 chord:



...here, the 4-note bass and center chords are good, but the 4-note treble chord isn't quite as "full" sounding because it lacks the root note (as contained in the other 2 chords).

That should have been 'something must be sinking in' at the beginning of my last reponse. But you prolly knew that.

I looked at the diagrams at Moneychords and I noticed the 'economy' of movement lesson there.

Ok on the 'redundant' 5th...question though...according to the rule, '...actually, such notes must be either changed, covered or dropped (remember!?!)' would it have been just as correct to to drop  the E1 in Cm or is it played in this lesson for purposes of having three 4 note voicings, i.e. bass, center, bass and treble.

And yes, now I'm understanding more fully that the four note chords are much easier to play, remember, deal with than the 6 note chords.

CmM7, no root in the treble four note chord...is that legal?  Haha.. I see all I had to do to go from Cm to CmM7 was a lift at B2 1. I also see there's some overlap, i.e. we're calling a bass Cm a bass CmM7. Pretty observant huh...bet you're gonna explain that observation too !

You know, I'm thinking about the four note...adjacent?...voicings you're showing me and I'm realizing I've actually been doing this at times...like if I don't think the chord should sound so treble for instance, I'll just play E6 - G3 even though they may be 6 note chords. Am I making any sense at all?

Excellent lesson OTM, thank you very much !

GuitarZen wrote:

Ok on the 'redundant' 5th...question though...according to the rule, '...actually, such notes must be either changed, covered or dropped (remember!?!)' would it have been just as correct to to drop  the E1 in Cm or is it played in this lesson for purposes of having three 4 note voicings, i.e. bass, center, bass and treble.

...as a full 5-string chord, dropping the E1 would be OK, but you gotta do "something" with that E-note when playing a treble 4-note chord...that's when knowing "how to" use the "covering" 5th-degree note comes in handy!

GuitarZen wrote:

CmM7, no root in the treble four note chord...is that legal?

...legal? well, yes, no and maybe, e.g.: YES, if we "cheat"...NO, if we "obey the rules"...and MAYBE, if we sacrifice the ROOT note on A5-string and lower it a halfstep down to M7-degree! This is "legal" especially if the bass player is playing the Roots and 5ths as he/she should!

REMEMBER: ROOTs and 5ths are often "dropped" from chords, especially when bass-player is playing them.

GuitarZen wrote:

...like if I don't think the chord should sound so treble for instance, I'll just play E6 - G3 even though they may be 6 note chords.

...another GOLD STAR! One "marque" of a good rhythm player is their ability to recognize that their chords should NOT "step on" the melody notes...thus, if melody is HIGH, then play "low"-sounding chords; and if melody is LOW, then play "high"-sounding chords...almost NEVER want the highest note in a rhythm chord to be the same as the melody note...unless, you're actually playing chordal music on purpose.

...next chord is Cminor6 or Cm6:



...notice that the "best" sounding chords have their "color" note(s) on the "center"(D4 or G3) strings, so those notes will always be in contained in all three voicings: bass, center (remember: 5ths are 'expendable') and treble.

Ok, I get it now...it would no longer be a 4 note treble chord...so since E1 can't be dropped, covering it with the 5th makes it work. Yep, remembering how to use the 'covering 5th' will come in hand once it's carved in my stone brain.

Of course you knew what I meant by 'legal' and what a great response...I wasn't questioning your lesson so much as I was trying to figure out the purpleness of the M7 at Bo...am I close if I say 'color note'? Ok, now it dawns on me that the bass player is in the picture filling in the Roots and 5ths...got it ...then you said:  "...and MAYBE, if we sacrifice the ROOT note on A5-string and lower it a halfstep down to M7-degree!..." This I presume speaks of the center 4 note CmM7, yes boss?  This is great stuff.

Really? "E6 through G3" was Gold Star worthy? Whoa...I'll have to be careful here...my chapeau will quit fitting. Thanks OTM, it suddenly dawned on me that I had been using sorta modified 6 note chords to keep the rhythm from wiping out the melody. I still understand about chordal melody though...last note being the melody note, or stated more thoroughly, the last note of a chord when playing chordal melody will be one of the melody notes and the note that is remembered most plus the chord changes are fast and many. Si?

Cminor6, Cm6, now that looks deceivingly simple and so it was. Oh, is our degree note at G3 supposed to be '6' at the bottom of the diagram since we're talking about Cm6? (G3, 2nd fret)? Hoping that was a test !

Great lesson OTM, thank you...things are going really well for me under your tutelage and I can't thank you enough.