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Guitar: Lesson 10
Movable Chord Shapes Part 2
By Zack Cart
Prerequisites:
You should be able to understand and perform the concepts and techniques outlined in the following lessons before attempting this lesson:
Guitar: Lessons 1-9
Music Theory: Lessons 1-8
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In the previous lesson we learned about movable chord shapes, or how to achieve a great number of chords from a single left-hand fretting pattern. As you will recall, all that is neccesarry to create another chord from one of these shapes is to slide the position either up or down the guitar neck the required number of frets.
The first shape we explored was the "F Major" shape, or the major chord fretting pattern which we first learned as F major. By sliding this chord shape up one fret at a time, we can acheive F, F# or Gb, G, G3 or Ab, A, A# or Bb, B, C, C# or Db, D, and depending on the shape of your guitar neck, D# or Eb and E as well! With the practice of learning and moving that shape we instantly gained at least ten to twelve chords, and possibly more.
The second shape we learned was a slight alteration of the first shape, created by moving the middle, ring, and pinky fingers all up one string, and resulting in a minor chord shape which has it's root on the A string. Here again, we discovered at least ten or twelve new chords.
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Today we will learn two new moveable shapes, one major, one minor. These may be difficult, so don't be discouraged if they do not come naturally. Time and practice will accustom your fingers to the contortions, but be careful not to over-strain anything along the way!!!
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We will begin with the minor shape, as it is the easiest to perform. To begin with, fret the "F Major" barre-chord shape from the previous lesson, with its root on "A" on the low E string. This will be, you will recall, an A Major chord. Now, think back through the basic theory we have discussed, and remember the difference between major and minor chord shapes. Both have a root and perfect fifth, but major chords contain a major third, and minor chords contain a minor third. So, find the major third (or thirds) in the A major chord and see if you can easily alter those notes to become minor thirds.
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If you ended up with a chord which reads, from lowest to highest, A, E, A, C, E, A, then you have done this correctly, dropping the C# in the major chord to a C in the minor chord. This is best achieved by simply removing the middle finger from the shape, and allowing the G string note it was fretting to be barred by the pointer finger.
The Barre may become more difficult now, as four strings, the Loe E, G, B, and High E, will all need to be barred across the same fret by the pointer finger. To assist with this, you may use the now unused middle finger to lie across the pointer and help press it down onto the fret board. Again, be careful not to over-strain your hands and wrists.
As with the chords in the previous lesson, this A minor chord shape can be slid up or down the fretboard to create many new minor chords. In conjunction with the other minor shape you have learned, you should be able to play any minor chord you may encounter within a song, regardless of the shape of your guitar neck.
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Next, we will explore the next moveable major shape, and discuss the three basic ways of achieving it.
This shape is best approached from the minor shape in the previous lesson, with had its root on the A string. Let's try the minor chord on D minor. Find the minor third, and see if you can raise it to become major.
Your new chord should read as follows, from lowest to highest; A, D, A, D, F#, A. If so, you have correctly raised the minor third, F, to a major third F#, and created a D major chord.
All three ways in which this chord is achieved use a barre with the pointer finger across the Low E, A, and High E strings. After this, you begin to have some options.
In the first position, you use your middle finger to play the middle A, then your ring finger to play the high D, and your pinky for the F#. This is simple, and good for bulkier fingertips, but it does require quite a stretch of the hand.
The second position requires that that the middle and ring fingers be switched. Many people find this position easier to achieve, as it allows for the fingers to bunch together more and fit into a smaller space more comfortably.
The last position is arguably to best, as it leaves two fingers free to use for more complex music in the future. However, it is also quite difficult, and should be approached VERY CAREFULLY. If any pain or discomfort occurs, please stop and relax your hands, and rest a while. If you cannot comfortably achieve this shape, use one of the others!
This will require to use of two barres, the first with your pointer, and the second with your ring finger. To achieve the ring finger barre, across the D, G, and B strings, you must place the last segment of the finger across these three strings and allow it to bend backwards at the final knuckle. Some people will find that their finger simply WILL NOT bend like this. If this is you, please do not try to force it to do so! For those of us whose knuckle can flex backwards a bit, we must still use caution. Make certain that you do not over force the joint, and that you are using the actual muscles of the finger to hold the knuckle in place. Do not allow yourself to get lazy and let the actual joint do all the work.
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At this point, we should have for movable chord shapes, two major, and two minor and one of each with a Low E string root, and and an A string root. With these shapes, you should be able to work your way through nearly any simple rock or folk song.
There are countless chord types in use, and in later lessons we will learn many shapes for all of them, but for the time being, we will be keeping it simple. However, in the next lesson, we will discuss how to replace more complicated chords with our simple major and minor triads, so that you will be able to work your way through more songs than would be otherwise available to you.