Week 14 - Day 1A: The Gmaj7 Chord The Gmaj7 chord looks like this: Here we have the notes G, B, D, and F#. Basically this chord is just like a G7 with the first fingered note on the High E string at the second fret instead of the first fret. Slash Sheet Exercise (95 BPM): Practice playing from the G7 to the Gmaj7:
Now we need to look at the fretboard for logical areas in which the G, B, D, and F# notes appear:
Applying Fingerstyle To The Gmaj7 Chord Exercise Week 14 - Day 1B: The Adim Chord The Adim chord looks like this and contains the notes A, D#(Eb), and C: What IS a 'diminished' (dim) chord? In music, a diminished triad is a triad consisting of two minor thirds above the root if built on C, a diminished triad would have a C, an E (D#) and a G (F#). A - A#/Bb - B - C - C#/Db - D - D#/Eb - E - F - F#/Gb - G - G#/Ab It resembles a minor triad with a lowered (flattened) fifth. In the common practice period, the diminished triad is considered dissonant, or unstable. It lacks tonal center or drive because the diminished fifth symmetrically divides the octave. A diminished triad occurs in a major scale only on the seventh scale degree; in the key of C, this is a B diminished triad (B, D, F). Since the triad is built on the seventh scale degree, it is also called the leading-tone triad. The leading-tone triad also occurs in the seventh chord built on the fifth degree; in C, this is G dominant seventh (G, B, D, F). For this reason, it has dominant function. Unlike the dominant triad or dominant seventh, the leading-tone triad functions as a prolongational chord rather than a structural chord since the strong root motion by fifth is now absent. The formula is basically: 1 - b3 - b5 1 2 3 4 5 6 7 8 A B C D E F G A
Remember when we COUNT we don't worry about the sharps or flats. Slash Sheet Exercise (95 BPM): Practice playing the Adim chord (many of these chords should be unfamiliar, so let's not switch around) Now we need to look at the fretboard for logical areas in which the A, D#, and C notes appear:
Applying Fingerstyle To The Adim Chord Exercise Week 14 - Day 2A: The Bdim Chord The Bdim chord looks like this: Here we have the notes B, F, and D. Slash Sheet Exercise (95 BPM): Practice playing the Bdim chord: Now we need to look at the fretboard for logical areas in which the B, D, and F appear:
Applying Fingerstyle To The Bdim Chord Exercise
Week 14 - Day 2B: The Cdim Chord The Cdim chord looks like this: Here we have the notes C, F#, and D#. Notice that you are just moving the Bdim one fret higher in pitch (B - C = no space) Slash Sheet Exercise (95 BPM): Practice playing the Cdim chord: Now we need to look at the fretboard for logical areas in which the C, D#, and F# appear:
Applying Fingerstyle To The Cdim Chord Exercise
Week 14 - Day 3A: The Ddim Chord The Ddim chord looks like this: Here we have the notes D, G#, and F. Notice the Roman Numerals. We are on the fifth (V) fret as our starting point. Slash Sheet Exercise (95 BPM): Practice playing the Ddim chord Now we need to look at the fretboard for logical areas in which the D, F, and G# appear:
Applying Fingerstyle To The Ddim Chord Exercise
Week 14 - Day 3B: The Edim Chord The Edim chord looks like this: Here we have the notes E, A#, and G. We are back to our open position (noted by the Roman Numeral "III") Slash Sheet Exercise (95 BPM): Practice playing the Edim chord: Now we need to look at the fretboard for logical areas in which the E, G, and A# appear:
Applying Fingerstyle To The Edim Chord Exercise
Week 14 - Day 4A: The Fdim Chord The Fdim chord looks like this: Here we have the notes F, B, and G#. Slash Sheet Exercise (95 BPM): Practice playing the Fdim chord: Now we need to look at the fretboard for logical areas in which the F, G#, and B appear:
Applying Fingerstyle To The Fdim Chord Exercise
Week 14 - Day 4B: The Gdim Chord The Gdim chord looks like this: Here we have the notes G, C#, and A#. Slash Sheet Exercise (95 BPM): Practice playing the Gdim chord: Now we need to look at the fretboard for logical areas in which the G, A#, and C# appear:
Applying Fingerstyle To The Gdim Chord Exercise
Week 14 - Day 5: Half-Diminished/Diminished 7ths By now you already understand the diminished chords. However, there are also half-diminished and diminished 7th chords as well. We will be focusing on these in the same fashion as we did using the A, B, C, D, E, F, and G format. You already understand how to apply any sharps, flats, minors, etc. so we can just focus on the Primary letters. Here's how to find those. Half-Diminished A half-diminished chord is also called a Minor 7 flat 5 (m7b5). For example: A "C half-diminished" is also a Cm7b5 or a Cmin7b5. Interval positions with respect to the C major scale, notes in the chord and name variations: Scale intervals: 1 - b3 - b5 - b7 Notes in the chord: C - Eb - Gb - Bb Various names: Cmin7b5 - C Half Diminished It will be VERY rare to find these types of chords in basic song studies. Basically you can 'plug' any note in to form the same conclusion for each. A = A half-diminished/am7b5 B = B half-diminished/bm7b5 C = C half-diminished/cm7b5 D = D half-diminished/dm7b5 E = E half-diminished/em7b5 F = F half-diminished/fm7b5 G = G half-diminished/fm7b5
Diminished 7ths A diminished 7th chord isn't too tricky. A diminished seventh chord is a four note chord that comprises a diminished triad plus the interval of a diminished seventh (alternatively regarded enharmonically as a major sixth) above the root. Thus it is (1, 3, 5, 7), or enharmonically (1, 3, 5, 6), of any minor scale; for example, C diminished-seventh would be (C, E, G, B), or enharmonically (C, E, G, A). It occurs as a leadingtone seventh chord in harmonic minor and can be represented by the integer notation {0, 3, 6, 9}. Scale intervals: 1-b3-b5-6(bb7) Various names: dim7, o, o7, 7dim Adim7 (aka Cdim7, D#dim7, F#dim7) Important! The Adim7 chord is ALSO a Cdim7, D#dim7, and an F#dim7 because the notes needed are the same! Creepy huh? Bdim7 (aka Ddim7, Fdim7, G#dim7)
Edim7 (aka Gdim7, A#dim7, C#dim7) Wait - WHAT? I know, it's weird to think that these chords can also be given other names. How is an Edim7 also a Gdim7? Well, this should be reserved for serious theory, but the idea is: it all has to do with root note inversions. If I try to explain every bit of inversions to you it would be a course in itself. It's confusing. However, this chart will help you a little. Basically you just need to know that some of these root notes have been inverted, so that the 'root' isn't actually the lowest note. It breaks a ton of rules, but an inversion is in a class by itself. Think of it like 'string theory' or 'M-Theory' where all of the theory is there, but it is still confusing and turned around in circles a bit. (Because you'll rarely encounter any of this unless you are getting into some SERIOUS music, this is all just really food for thought)