Expand your chord vocabulary
The emphasis is on producing
strong, usable voicings that can be applied in real life situations,
with flexibility and creativity, so you can rely on the fact that
everything included in this lesson is valid in a real life playing
scenario at some point.
Scroll through the gallery above to see full-sized tab for each chord shape, or read on below for all 50 in one place!
Triads: Three-string chords can sound surprisingly big...
Example 1: Triadic Inversions
Triads
(three-note chords) can be fingered using different inversions (ie
different chord tones as the lowest note) to great effect on the top
strings. Here is a I IV V progression in G (G C D), drawing on three
different CAGED chord shapes.
This
example uses the guitar's strength of moving one shape along the neck
to change key. In this case we are shifting a major triad shape
laterally, following a I bIII IV harmony, this time in D (D F G). Here
we have the added benefit of the D on the open fourth string acting as a
low string 'drone'.
The
progression here outlines F, G, Am and C. The diminished triad is
slotted in a semitone above each major chord, acting as a chromatic
voice lead (eg F, F#dim, G, G#dim, Am). The G# augmented triad sounds
quite tense with the low G# resolving to G to create C/G.
By
being selective in our choice of triad inversion, it is possible to
create logical movement between chords. This idea follows the
progression C, G, Am, F, C, but maintains smooth step-wise low note
descent, by using root position (R 3 5), first inversion (3 5 R) and
second inversion (5 R 3).
Many
of you will already use a sus4 as embellishment to an open D chord
(Dsus4), whereby you add a G note on the first string with the fourth
finger. Here's a movable C shape version that enables usage in other
keys. Suspended; chords contain no 3rd (they're not specifically major
or minor) so can be integrated relatively freely.
Whilst
the sus4 chord sounds unresolved, its sus2 counterpart has an airy
quality that can work well with crunchy or overdriven tones as well as
clean. They make a great alternative to conventional power chords.
Modern bands such as The Foo Fighters and Incubus make extensive use of
these sounds, as did The Police.
Eric
Johnson often uses octave displaced triads - one of the chord tones is
played an octave above, which creates chords that are open voiced. These
octave-displaced inversions of I IV V in G (G C D) articulate a G major
scale running from B to G (high notes on chords). Voice leading is
common and revered in JS Bach's music.
We
can generate the sounds of the major scale modes by playing triads from
the IV and V degrees of the parent scale against a lower note that
outlines the mode required. Here the triads A and B (IV and V) from the
parent key of E are played against the bass note of A (4th note of E
major) to articulate an A Lydian sound.
This
time we are going to generate the A Dorian sound (second mode of G
major), by playing the triads of C and D (IV and V of G) against an A
bass note. Theory buffs among you my realise that the triad of C (C E G)
with an A bass note creates an Am7 chord, which is perfect fit for the
Dorian tonality.
Now
let's look at the fifth mode of the D major scale: A Mixolydian. Here
we take triads from the IV and V degree of D (G and A), and play them
against an A bass note. Once again theorists may know that the G triad
played against A gives the notes of an A11 (or G/A) chord, which
complements the Mixolydian sound perfectly.
Example 11: Add9
The
9th interval (an octave up from a 2nd) can be added to either a major
or minor triad to form an Add9 chord (R 3 5 9). This is a great way to
give standard chords some colour without sounding too 'jazzy', which is
why you will find them frequently cropping up in country, folk, pop and
rock based styles. Gsus2 has no 3rd in it.
The
11th note (octave up from a 4th), can also be added to major and minor
triads. Here a C chord form is moved up two frets to establish a D
tonality; the open third string (G) gives the add11 sound. These chords
lend themselves to picked arpeggios, and appear commonly in rock ballads
by bands like Whitesnake and Def Leppard.
Our
next offering is a major 6 (R 3 5 6), which can give an authentic sound
for vintage jazz and soul styles. You can hear this sound frequently
used by guitarist Steve Cropper on records from the Stax label including
releases by Booker T, Wilson Pickett, Otis Redding and others.
Anybody
who's listened to gypsy jazz genius Django Reinhardt will be familiar
with this chord, the m6 (R b3 5 6). The inversions shown here are
omitting the 5th interval - in jazz playing this is often removed
without compromising the tonal integrity of the chord, as it is
essentially 'transparent'.
Here
is a great move that can be used in funk, where we take a stock minor 7
chord and lower the b7 interval by a semitone to create a minor 6 sound
for a very authentic sounding 'Prince' vibe - the high guitar break in
Kiss is a textbook example of b7 to 6 movement.
By
adding a 9th to the major6 chord, we extend our colour without getting
too jazzy. Rock and roll guitarists like Brian Setzer use this sound.
Its construction (R 3 5 6 9) is the same as the major pentatonic scale
(R 2 3 5 6), which you could see as a major 6/9 arpeggio (R 3 5 6 9) if
the 2nd is positioned an octave higher (becoming a 9).
Here
is a versatile minor counterpart, which is great for applying in a
minor blues/jazz scenario. This minor 6 chord (R b3 5 6) could also be
applied to a funk setting too, due to its placement here on the high
strings - perfect for rapid Nile Rodgers-style 16th note strumming!
This
add9 idea is centred around open strings to provide colour. Open B and E
add a 9th and 5th respectively to A major, and then the same strings
create a 5th and root note for the E chord. This is a highly effective
trick and a great way of layering parts without simply playing barre
chords.
Okay,
it's time to turn the heat up a little, so this time we are using a
substitution trick to articulate the I to IV move in a blues (G7 to C7)
by using the a D minor chord in place of the G7 - in this case is a
Dmadd9 with a chromatic walk down. Jazz musicians refer to this type of
substitution as 'minorising'.
Here
we stack two triads together to form a bigger structure, in this case a
Gmaj13 chord. This is known as a 'polychord'. The two triads are an
open position G on the bottom three strings, and a D triad on the top
three. These chords tend to work better when used to end cadences, as
here, rather than being continuously strummed.
Example 21: Major 7
Here
is a great inversion for a G major 7 chord (R 3 5 7), based on a parent
C form from the CAGED system. In this example, the 5th of the chord (D)
is played on the sixth string to allow for a descending figure to also
be played.
We
borrowed this Em7 shape (R b3 5 b7) from Bireli Lagrene. The voicing is
again built from a parent C CAGED form, but this time minor. In the
musical example, we are articulating I VI II V in G (Gmaj7 Em7 Am7 D7).
You can see how this voicing can also be used with an open sixth string E
note to avoid the wide stretch.
Here's
a nice four-string version of a B dominant 7th chord (R 3 5 b7). The
cool thing about this fingering is that no notes are repeated, as is
usually the case when using bigger five or six-string shapes. It is used
here in a turnaround on an E blues - V IV I V (B7 A7 E7 B7).
Here's
a tasty m7b5 (half diminished) inversion. These chords are great as
they can imply numerous colourful tonalities. Try this: navigate a minor
II V I (Em7b5 A7 Dm7) by moving a m7b5 shape from E, up three frets to
become A7b9#5, then up four frets to become Dm6, thus spelling out the
progression.
In
this example we are using dim7 chord shapes (R b3 5 bb7) to imply E7b9
and Am6 voicings and create a II V I sequence along the neck. This
creates a sophisticated set of ascending and descending shapes that can
be used against an A minor tonality. Legendary guitarist Wes Montgomery
was particularly fond of this approach.
The
unusual m7#5 (R b3 #5 b7) works in a variety of fusion, funk and soul
settings. Here it bridges a set of descending maj7 chords to maintain a
chromatic voice lead. Steely Dan see it as an add9 in first inversion,
nicknaming it the 'Dan chord'.
We're
into Latin territory now, with a chord derived from the fourth mode of
the melodic minor scale, the 7b5 (R 3 b5 b7). Although the fingering is
relatively safe, it works well in the right context with the B7b5
providing embellishment via a bridging note to the Bm7 chord that
follows.
And
now for a spot of Lydian tonality with this Fmaj7#11 chord (R 3 5 7
#11). This painfully simple fingering is essentially a stock E shape F
barre chord, with the second and first strings ringing open, providing
the #11 and maj7 intervals. A popular chord with '80s ballad rockers!
The
minor major7 chord (R b3 5 7) is great for suggesting a moving
chromatic line in the bass. The fingering here is a departure from the
often used 'Stairway To Heaven' shape, instead utilising the C parent
form once more.
Here
is an interesting version of an E7sus4 (R 4 5 b7) chord. It utilises
the open second string (B) to articulate the 5th of the chord, whilst
placing the 4th (A) on to the 5th fret position of the first string. You
can find hundreds of chords like this, just by doing a bit of
experimenting.
Example 31: Major 9
We
kick this section off with an E major 9 (R 3 5 7 9) in the open
position. This fingering incorporates all four fingers plus open
strings, so is not moveable without a capo - or another digit! It can be
a tricky stretch so keep your thumb in the middle of the back of the
neck.
This
version of an Am9 chord (R b3 5 b7 9) has no root note (A), if you
don't play the included 12th fret, fifth string. Although usually a
crucial note, it is okay to discard, as it would be played by the bass
or keyboard player. And this is essentially a five-note chord and we
only have four fingers available.
The
beauty of this D dominant 9 chord (R 3 5 b7 9) is that we can choose to
play the root note (D) on either the sixth or the first strings, giving
us a great deal of flexibility with the shape and giving the listener
the impression that the chord inversion has been changed.
We
turning things up to 11 now, with a versatile way of playing an E minor
11 (R b3 5 b7 9 11). You will already have seen that it is common on
guitar to omit nonessential intervals in order to improve the tonal
quality or ease the fingering of a chord. In this case we are using just
(R b3 b7 11).
This
ear catching dom9#11 (R 3 5 7 9 #11) works well as a substitute for a
regular dominant 7, as seen here. What happens is that a I VI II V in G
(Gmaj7, E7, Am7, D7) is resolved to G9#11, slid up a semitone and back.
Very expensive!
We
are going rootless again, this time creating a useful G dominant 13 (R 3
5 7 9 11 13) by omitting the root (G), 5 (D) and 11 (C). Chords like
this on the middle four strings work great when playing in a trio
context with bass and drums and still sound fulfilling (don't think only
five- or six-string chords are valid for trio playing!)
This
is an impressive looking wide stretch moveable shape articulating an A
major 13 chord (R 3 5 7 9 11 13). This is definitely one for the front
cover of an instructional DVD! Even better, it sounds great and works
well when arpeggiated. You could expect this in a Joe Satriani or Eric
Johnson ballad.
Here
is a great way to play an E minor 9 voicing in a less jazz-funk vein.
By using the open strings where available we can further embellish the
chord with a pull-off on the first string from the 9 (F#) to the root
(E). Notice how the shape can also be maintained to articulate other
chords from the key.
Two
ideas for the price of one this time! First up, a nice sounding dom 13
(R 3 5 b7 9 11 13) which can easily be manipulated to form a
'jazz-tastic' 13b9 voicing which increases the amount of tension felt as
the V chord (C13) resolves to the I (Fmaj9). Nice!
Last
up a quirky version of an A dominant 9, this time using some
open-string colour in place of the notes that would normally be played
at the 12th fret, resulting in a less typical sound. You should
experiment with the same approach with any chord that incorporates notes
at the 12th fret area.
Example 41: Quartal Harmony
Quartal
harmony is a concept whereby a chord tonality (in this case Am7) is
articulated by stacking intervals of a related scale (in this case A
Dorian) in diatonic 4ths. These shapes can then be played freely along
the neck to provide a melodic contour as opposed to a simple static
chord.
The
approach explained in example 1, can also be used with chord tonalities
that exist outside of the major scale, as seen here. The A min/maj7 can
be articulated by stacking the parent scale of A melodic minor in 4th
intervals. This is a very common approach in jazz-funk.
Here
again we articulate a moveable sound of Am7, by using a parent A Dorian
skeleton. This time it's a three-note structure constituting a root,
then a note played a diatonic 2nd up, then another a diatonic 3rd up
from that. Essentially we're exploiting the major 3rd interval between
the third and second strings.
This
example uses Am7 and A Aeolian in parallel to create a chord scale. By
playing intervals from the scale on the top four strings to create a
chord voicing, we can move each note of this voicing diatonically up or
down the neck to generate a synthetic harmonised scale that can be used
for colour against a static Am7 tonality.
Here
is a great example of an altered dominant chord, in this case G7#5#9 (R
3 b5 b7 #9). In this instance it's used as a means to bridge the II and
I chords in a major II V I (Dm7 G7 Cmaj7) as the alterations (#5 #9)
work to create a moving chromatic line through the chords.
This
is another altered dominant chord, a 7#9 (R 3 5 b7 #9) which works in
exactly the same manner. The fingering is a cool variation on the common
'Hendrix' voicing. This one, in the key of G is played with no root
note, but rather a doubled b7 interval (F).
This
example is a really cool sounding slash chord variation on the altered
tonality. The chord here can be seen two ways, either as Db triad over a
G bass note, or as G7b5b9. Regardless of how you wish to term it,
doesn't this voicing sound great?
Another
slash chord, this time to articulate a Phrygian sound. The Eb triad is
played over a C bass note to sound C Phrygian. We are swapping from the
sound of C Phrygian (3rd mode of major scale) to C Phrygian dominant
(5th mode of harmonic minor) by incorporating Cm7 (Phrygian) or Cmaj
(Phrygian dom) accordingly.
We've
saved the hardest shapes for last, as we're assuming your hands are
nicely warmed up by now! This fingering for Cmaj7#11 lends itself to the
harp harmonic technique popularised by Lenny Breau, whereby fretted
notes are played with artificial harmonics, performed by touching the
strings 12 frets above.
This
Dm11 shape utilises the same technique as in Ex 9, although the pattern
is different. This time we are starting with a harmonic before plucking
the fretted note two strings higher, resulting in the same type of
cascading effect.
We hope you have enjoyed this article and learned a few new chords that you'll use in your own music!
No comments:
Post a Comment