Additional Open Chords

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Annabelle Day
5 years ago
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1 Additional Open Chords Chords can be altered (changed in harmonic structure) by adding notes or substituting one note for another. If you add a note that is already in the chord, the name does not change. Such is the case in the following very popular G. In music, the term inversion is used to describe the same chord with a different combination of the same tones. When a note is added that is not in the original chord or is not in the standard sequence for building chords (diatonic thirds), it is called an add chord. The symbol is sometimes seen as the plus sign which is confusing since + is the normal designation of an augmented chord. Cadd9 and C+9 are the same name. A different combination (inversion) of the three notes of the G chord is still a G chord. A different inversion of the three notes of the C chord is still a C chord. If you add a D note to a C chord, the name does change, because D is not one of the notes that makes up the C A slightly different inversion of the same chord. If seen as C+2, the plus stands for add, not augmented. You may also see the Cadd9 diagrammed in books and magazines and named Cadd2 or C+2. In strict intepretation of music theory the 9 is incorrect since you normally must add a seven to have a nine. The confusion possibly comes since the D on the second string is nine notes away from the root. On the guitar, it makes most sense to call it a 9 or a 2 depending on location of the root. Practice this exercise, using the G diagrammed above with the added D and the similarly fingered Cadd9. Practice this exercise, using the C diagrammed above and the similar suggested fingering version of G. The following chord progression is played using the above diagrams. You should note that the D tone on the second string, third fret is held constant throughout. This produces a characteristic sound that is helpful when trying to work up a song using this and similar progressions from a recording. The Basics, Page 51

2 Suspended Chords Another alteration of a chord involves replacing a note with a note from a related chord and carrying it forth to the next chord. In essence, you are suspending a tone from one chord as the harmony moves to another. In theory, the B on the fifth string should be omitted as indicated. In reality, you can play it without losing the musical affect. In contemporary guitar music, you can use a sus chord as it was originally used or for added embellishment. Suspended variations of the D chord are used by many guitarists in many songs as an embellishment which can easily be identified for their distinctive qualities. Normally it would not make sense to fret two fingers on the same string, but Dsus4 is almost never played without moving to or from the D. Although the sus4 is more commonly used, you can also suspend the second. If you see a reference to a plain sus chord in a book, you can probably assume that they are trying to indicate a sus4. An often used embellishment: A useful ending in the key of G : The Basics, Page 52

3 One of the many examples of the use of suspended chords is illustrated in the following example of an embellished ending to a song. As you approach the ending, begin slowing down the tempo. In music terminology, this is called a ritard or ritardando. Ritardando Inside Outside The diatonic third ( E note on the fourth string or first string) is replaced by the F. The other E is dampened. The F note is added to the complete C chord instead of replacing the E. Another variation of the same chord adds the F on the fourth string and keeps the open E. Notice that the two chords pictured above, although named differently, have the same fingering and therefore consist of the same notes. Notice also that the root notes are different and should be accented accordingly to produce the desired musical effect. Practice these exercises using the inside and outside sus4 and add4 chords. Practice this exercise using the similar Csus4 by changing the accent on the root note. The Basics, Page 53

4 Major Seventh Chords The Major Seventh chord is a major triad with an added interval that is seven diatonic steps from the first degree of the major scale. As shown below, the note that you add to a major chord to make a major seventh is one half step below the octave. The dominant seventh, or flatted seventh as it is sometimes called, is a whole step below the octave. Half step Whole step The G note on the first string is lowered a half step. The G note on the first string is lowered a whole step to F. In the following exercise, listen to the different tonal qualities of the three related chords. Amaj7 is the pattern for a nice barred maj7 based on the fifth string root. Dmaj7 can be used as a pattern for a barred version with a fourth string root. Cmaj7 can be used as the pattern for a barred version with the fifth string root. The fifth string third fret can be added for fullness. This is one of Nortune s favorite chord progressions. Same progression in a different key. The Basics, Page 54

5 Minor Seventh Chords The minor seventh chord is sometimes used as a more colorful substitution for the basic minor. The chord is made up of four tones and is a combination of the major triad and its relative minor triad. Another way to think of this is that you have a major chord stacked on top of its relative minor root note. Notice that the Am7 looks like a C chord except with a different root note. You may find the 1st and 3rd fingers easier than the 2nd and 4th. For an easier version, play the 2nd string open. The first finger must press across two frets and the second finger must have an arch. Practice sounding the first two strings alone and then add the second. The Bm7 sometimes works as a substitution for Bm, especially in the keys of D and G. For an easier version: play the 2nd string open. The Em7 is the basis for the main sixth string root barred minor seventh chord. The Am7 is the basis for fifth string root barred minor sevenths. The Bm7 is also played as a moveable jazz chord by dampening the fourth string. The Dm7 is the basis for another moveable chord. Refer to the Bar Chord section for more details. Practice each progression as written and for a nice variation practice each by playing the root note on the first beat instead of a strum. The Basics, Page 55

6 Sixth Chords The sixth chord includes combinations of the one, three, five and six of the diatonic scale. On the guitar, however, it is often played without the fifth (See C6 and F6 below). Voicings that include the fifth and sixth sound more jazzy, especially if the two pitches are close (within the same octave). The C6 and F6 are very useful sixth chords. They are relatively easy to play and as long as you dampen the open strings, each is movable and takes the name of the new root. The Eagles Tequila Sunrise uses this voicing of G6. This E6 to A6 chord change has a nice bluesy sound G Gmaj7 G7 G6 The G progression above and the D progression below are two commonly found examples using of the sixth chord D Dmaj7 D7 D6 The Basics, Page 56

Blues turnaround chord melody lick

Blues turnaround chord melody lick Week 1: 52 weeks to better jazz guitar Blues turnaround chord melody lick Page 1 Copyright Darren Dutson Bromley Blues Turnaround Chord Melody Lick. As a guitarist, regardless