Week 7 - Day 1: The Dsus4 Chord. The Dsus4 chord looks like this and contains the notes D, A, and G: All we need to find is the 1, 4, and 5.

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Mavis Carpenter
6 years ago
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1 Week 7 - Day 1: The Dsus4 Chord The Dsus4 chord looks like this and contains the notes D, A, and G: OR All we need to find is the 1, 4, and 5. The D scale is: D E F G A B C D Here you'll see the notes that are needed in order to form the Dsus4 chord. Slash Sheet Exercise (95 BPM): Simply practice playing the Dsus4 chord four times each measure.

Now we need to look at the fretboard for logical areas in which the D, A, and G appear: As with the Esus4 there aren't really any logical positions in which you could - or most important - SHOULD

2 Now we need to look at the fretboard for logical areas in which the D, A, and G appear: As with the Esus4 there aren't really any logical positions in which you could - or most important - SHOULD play the Esus4. There ARE options, but I've never experienced a time in which any of them were needed. I WILL be providing a recap quiz that will require you to find a few Esus4 and Dsus4 chords though, so be sure you at least understand the possible arrangements.

3 Applying Fingerstyle To The Dsus4 Chord Exercise Week 7 - Day 2: The Dsus4/F# Chord The Dsus4/F# chord looks like this and contains the notes D, A, G...and you guessed it - F#. OR Basically you are just adding the F# note to the already formed Dsus4 chord. The F# note MUST be the bass note, as per the "/" noted in the chord in question. In the case of the Dsus4/F# you will need to use this Dsus4 chord diagram: VS. The big question is: Why does this chord appear to have changed so much by simply adding the F# bass note? Well, it really hasn't changed all that much. However, because we've included the F# bass note we want to fill this chord out as much as possible. When we reach the song that features this chord you'll understand why. Notice here that you WILL need to use your thumb to play the F# bass note. It's not as hard as it might seem.

4 Slash Sheet Exercise (95 BPM): Simply practice transitioning FROM the Dsus4 to the Dsus4/F# chord. I also included the 1st finger approach to the F# note. In this approach, you alter your fingers as accordingly. Here they are for reference: TO OR Now we need to look at the fretboard for logical areas in which the D, A, G, and F# appear:

5 Applying Fingerstyle To The Dsus4/F# Chord Exercise

6 Week 7 - Day 3: The D7/F# Chord The D7/F# chord looks like this: Much like the D7 chord, this chord includes all of the same notes of A, D, C, and F#. However, because we see the "/" sign we must also realize that there needs to be a bass note of F# included. This falls on the Low E string at the second fret. VS. There is really no other logical way to play the D7/F# chord. Slash Sheet Exercise (95 BPM): Simply practice playing the D7/F# chord four times each measure. I alternate between the D7 and D7/F# in this video to help you see the change that takes place. Now we need to look at the fretboard for logical areas in which the D, F#, A, and C appear:

7 The D7/F# chord is just like the D7 chord, but we need the bass note included.

8 All Notes in D7/F#: Correct Notes in D7/F#: D7 VS. D7/F# Unlike the traditional D7 as shown above, to form the D7/F# we NEED the bass note of F# on the Low E string. Applying Fingerstyle To The D7/F# Chord Exercise

9 Week 7 - Day 4: The C7 Chord The C7 chord contains the notes C, E, and A#(Bb) As you already know, we are forming a dominant 7 from the original C Major chord. VS. To make a C Major a C7 we simply need to create a seventh using 1, 3, and 7: C D E F G A B C Where's the 5th? NOTE: You CANNOT LOGICALLY add the fifth in an 'open' C7 chord. So this C7 isn't quite a complete chord, but even though it's 'fifth-less', it still sounds like and functions as a C7 chord. As always, the sharps and flats do not matter when it comes to the actual note we are looking for. We just need to use the overall formula. The formula for EVERY dominant 7th chord (with the exception of a C7) is simply: 1, 3, 5, and flatted (b) 7 - or 1, 3, 5, b7 The formula for EVERY minor 7th chord is simply: 1, b3, 5, and b7

always we need to 'remove' the notes that we don't need, and/or that are hidden behind the fretted notes.

10 Slash Sheet Exercise (95 BPM): Simply practice playing the C7 chord four times each measure. Now we need to look at the fretboard for logical areas in which the C, E, and Bb(A#) appear: Check this out: As always we need to 'remove' the notes that we don't need, and/or that are hidden behind the fretted notes. By playing the C note instead you can't hit the A# note on the A string. As always remember that the Low E string is really optional to play.

This Is Interesting! So, how do we play a barre chord version of the C7 chord? This is a little tricky to understand, and isn't traditionally taught very often.

11 This Is Interesting! So, how do we play a barre chord version of the C7 chord? This is a little tricky to understand, and isn't traditionally taught very often. You might recall a while back that I said I liked saying to "add" the seventh instead of substitute it? This is dangerous to say in a musical setting, because when you hear 'add' you automatically think of a chord like Cadd9, where 'add' literally means what it states. However, there is a trick to finding the C7 in barre chord (and partial chord) format. You need the b7. In other words, you DO add a seventh to the already formed C Major chord in BARRE (and/or partial chord) format. The following diagrams show barre chord/partial versions of the C7 chord. I won't go into detail with these chords because they are rarely played unless you CHOOSE to play them, but here they are, with the G note included. If you wonder what a 'partial' chord is the name says it all. It's just a partial chord. The notes are there but the fundamentals are a bit 'off' so to speak. This goes back to the theory that all you really need are three notes (triad) to form a chord. Barre Chord Format Option remove duplicate notes to make =

12 Partial Chord Format Option remove duplicate notes to make =

13 Barre Chord Format Option remove duplicate notes to make = Partial Chord Format Option remove duplicate notes to make =

Applying Fingerstyle To The C7 Chord Exercise Week 7 - Day 5: The C#m Chord The C#m chord looks like this and contains the notes C#, G#, and E: There is no open C#m chord.

14 Applying Fingerstyle To The C7 Chord Exercise Week 7 - Day 5: The C#m Chord The C#m chord looks like this and contains the notes C#, G#, and E: There is no open C#m chord. Every C#m chord is a barre chord. As always the C#m Low E string note need not be played, but is an acceptable note. Slash Sheet Exercise (95 BPM): Simply practice playing the C#m chord four times each measure. Now we need to look at the fretboard for logical areas in which the C#, G#, and E appear:

15 At A Glance... Even if you included the G# note (which you really shouldn't) on the Low E string this would be an A Style barre chord because the C# root falls on the A string. Optional Position: Here we have an E Style barre chord because the root of C# is on the Low E string. Super simple! Optional Position

16 Applying Fingerstyle To The C#m Chord Exercise 1 Exercise 2

While you already see the notes needed, which are C, E, G, and D, we must understand what the term 'add' means.

Week 6 - Day 1: The Cadd9 Chord The Cadd9 chord looks like this: While you already see the notes needed, which are C, E, G, and D, we must understand what the term 'add' means. It actually just means to