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flatlander
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« Reply #20 on: January 01, 2012, 02:58:23 PM »

The purpose of this post is to make clear that open E open A and open D are really the same chord shape on different strings.
The shape is changed as it moves across strings because the interval between 3rd and 2nd string is different that the rest as demonstrated when you tune a guitar to itself, the old fashion way.  The 2nd purpose is to show what other chords we can make from these shapes and seeing that relatively speaking were doing the same things to each chord when we change it. The wicked
B (for bad) string tries to hide this fact from us, but he SHALL be exposed! My start will be easy as I cut and past this from previous
post.

So here's all 3 chord forms. Note that the 1st, 3rd and 5th are all in the same relative position across the strings.
1/-----------------                 1/-----------------            1/-----2---------III
2/-----------------                 2/-------2-------III           2/----3----------I                                 
3/------1----------III              3/------2---------I           3/-----2----------V
4/------2---------- I               4/-----2----------V          4/-----------------
5/------2----------V               5/-----------------            5/-----------------                                                               
6/-----------------                  6/-----------------            6/-----------------
          E                                     A                                        D

Now we'll start making different type chords out of these shapes at the same time so we can compare them and see that they are all changing in the same way.
 
1/-----------------                 1/-----------------           1/-----1---------bIII
2/-----------------                 2/------1-------bIII         2/----3----------I                                 
3/------0----------bIII            3/...---2---------I           3/-----2----------V
4/------2---------- I               4/-----2----------V          4/-----------------
5/------2----------V               5/-----------------            5/-----------------                                                               
6/-----------------                  6/-----------------            6/-----------------
          Em                                     Am                         Dm
We turned it into a minor by flatting the 3rd. On all three shapes the highest fretted note lowered 1 fret.

1/-----------------                 1/-----------------            1/----3---------IV
2/-----------------                 2/-----.3-------IV           2/----3----------I                                 
3/------2----------IV             3/------2---------I           3/-----2----------V
4/------2---------- I               4/-----2----------V          4/-----------------
5/------2----------V               5/-----------------            5/-----------------                                                               
6/-----------------                  6/-----------------            6/-----------------
    E sus                                    Asus                      Dsus
We turned it into a sus (4th note added) chord by raising the 3rd 1 fret.

1/-----------------                 1/-----------------            1/-----2---------III
2/-----------------                 2/------2-------III           2/-----2----------VII                                 
3/------1----------III              3/-----1---------VII         3/-----2----------V
4/------1---------- VII            4/-----2----------V          4/-----------------
5/------2----------V               5/-----------------            5/-----------------                                                               
6/-----------------                  6/-----------------            6/-----------------
          EMaj7                            AMaj7                        D Maj 7
We turned them all into major sevenths by lowering root one fret. Thats a tip to remember. The maj 7 note is right below the
root. Find root and count down, makes it easy to find. For Dom (b7) just go down 2 frets (or steps)  Tip: Remember that
when making a chord, a rule is that you don't have 2 notes a 1/2 step apart. This shape introduces that situation when you play
open notes with it.
Use at your own discretion and risk when including the open notes in this shape. I could say more but I won't
right now. Another note. The EM7 may not seem practical and awkward but we're gonna move these up the neck later so it's
important to know where Maj 7 note is.

Another Maj 7 out of this shape, putting major 7th on top so to speak.

                                                                           ( 4)  "Help!!! I fell off the world! I told you the earth was flat!"
1/-----------------                 1/-------4-------VII          1/-----2---------III
2/------4----------VII             2/------2-------III           2/-----3----------I                                 
3/------1----------III              3/------2---------I           3/-----2----------V
4/------2---------- I               4/------2----------V          4/-----------------
5/------2----------V               5/-----------------            5/-----------------                                                               
6/-----------------                  6/-----------------            6/-----------------
          E                                     A                                        D
Ok on E I can't really reach it, but again, we'll be going up the neck where the frets are closer, very do-able up there.
Remember with A hopefully you are barreing across 2nd fret with index. If you don't do that, then start. It's a pain at fist but
 WAY, WAY important. With the D shape, obviously the poor fellow fell into space.
Remember the important thing we're doing with all these is watch the shapes change in the same manner!

1/-----------------                 1/-----------------            1/-----2---------III
2/-----------------                 2/-------2-------III          2/----1----------bVII                                 
3/------1----------III             3/------0---------bVII      3/-----2----------V
4/------0----------bVII           4/-----2----------V          4/-----------------
5/------2----------V               5/-----------------            5/-----------------                                                               
6/-----------------                  6/-----------------            6/-----------------
     E7                                     A7                             D7
Kept lowering the Maj 7 down to Dom 7    Can get nice little move doing that BTW. Try playing D-DMa7-D7.

1/-----------------                 1/--------3------bVII        1/-----2---------III
2/------3---------- bVII          2/-------2-------III           2/----3----------I                                 
3/------1----------III              3/------2---------I           3/-----2----------V
4/------2---------- I               4/-----2----------V          4/-----------------
5/------2----------V               5/-----------------            5/-----------------                                                               
6/-----------------                  6/-----------------            6/-----------------
       E7                                     A 7                         D (not playing this round)
Putting flatted 7th on top.
 
open D's revenge!

1/------2-----------III               
2/------0-----------VI                                               
3/------2---------  V           
4/----------------               
5/---------------               
6/-----------------                 
        D6   
I show that not just as a joke, but when the other chords go up the neck, they'll be able to do that trick as well once
the nut is out of the way. 

Well I guess it's not too much revenge cause the other 2 chords can do this.   

1/-----------------                 1/-------2------VI           1/-----2---------III
2/------2---------- VI             2/------2-------III          2/----3----------I                                 
3/------1----------III              3/------2---------I           3/---2----------V
4/------2---------- I               4/-----2----------V          4/-----------------
5/------2----------V               5/-----------------            5/-----------------                                                               
6/-----------------                  6/-----------------            6/-----------------                         
       E6                                    A6                          D "*!@##!@#"
Well that should certainly give you the idea that they are the same shape if it wasn't clear and a review of some
of the chords that can be made from those shapes.  Open C chord dissected later. Caution: I'm not gonna have to to
double check my work right now.
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flatlander
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« Reply #21 on: January 01, 2012, 03:02:06 PM »

This is the thread I want to combine with new sticky on chords. There's a lot of good stuff here that needs to be in there as too not be wasted AND it has the basic chords theory in the beginning which is needed for the rest to make better sense. matt
For those who know history of thread. This is point where I start copying from the new thread. Everything up to this point was copied from old "3rd's and beyond" thread. The later thread started out about using different combonations of fingers to make an "A" chord and took off from there. I'm having a little bit of a hard time deciding where to start copying. I want to keep thread SOMEWHAT focused but feel funny deciding what stays and goes. The other thread should be intact and you can always go back to it.
http://www.larriveeforum.com/smf/index.php?topic=38836.0
For now on this thread I'm going to add some of the condensed, and what I relate to as important points. Hate leaving stuff but what's a boy to do.? I left some stuff out from 3rds and beyond as well including some of my own posts. mm
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« Reply #22 on: January 01, 2012, 03:41:18 PM »

Hi all,
Newbie player wondering if some of the experienced players use fingers 234 for the open EAD chords.
These past months, I've been playing open EAD major chords and variants (minor, 7th, minor 7th) with fingers 123, with index finger as anchor whenever possible.
This past week, someone told me that if I played those same chords with fingers 234, it's easier to slide those shapes up to play the barre chords, as those fingers will already "know" the shapes, and index finger is already free and ready to bar.
Though it seem to make sense, retraining my fingers will be a big shift in gears for me, like taking several steps backward.
Any thoughts?
It's good to play both ways depending on what your doing.  For what you're talking about I would be more inclined to use that mainly for "E" shape chord that's going up neck or coming down to the open position.. Definitely need to add using index to smash (barre) an "A" shaped chord. That leaves a ton of stuff your other fingers can be doing above or on top of chord. From R&R rhythm licks to plating melody or lead. Can be handy for "D" too making a smooth transition to Bm or whatever the VIm would be up neck. Yea you already have the one so don't abandon it, just add different ways to make chords. Sometimes you don't need the full barre, sometimes you do etc.
Hi stollie,

This is a great question.

When working out arrangements I consider the movement of my fingers across the fretboard. That includes paying attention to what comes before and after a particular chord. Sometimes it makes sense to use fingers 123 for a chord shape, and other times 234, or some other combination. For me, the decision is influenced by things like a sense of feeling of flow as I move from one chord to another. 
I know players who bring all fingers for a chord down onto the fretboard simultaneously. You can see the chord shape in their fingers before they land.  I'm all over the place when I play and sometimes I like to keep one or two fingers (fretting hand finger) anchored  as I move through a couple of chord changes. This precludes the all-the-fingers-rise-and-fall-at-the-same-time approach. It also means that the progression of chord changes (rather than an individual chord) dictates how I will place my fingers for a specific sound.
You mentioned "with index finger as anchor wherever possible".
I will often use my third finger as the anchor - especially if I'm working through a progession of chords where the D shape is the core.  My point is, picking an anchor finger can be useful. Being able to use different fingers as anchors can open different approaches.
Does that help?
If you can use fingers 2,3, and 4, to make your C, A, G, E, and D chords you open the possibility to turn them all into movable forms. As a rule, you should try to become comfortable in fingering any chord with any possible combination of fretting hand fingers. The more independence you develop in your fingers, the better player you can become.
Don't leave out the smashed A. Getting fret 2 on strings 2-3-4 with index finger.  It opens up a whole bunch of stuff. Your other fingers are free to add notes across all 6 strings.
Which brings you to the long A form and the triplet patterns you can work from that postion!
Thanks, guys.
I'm also trying out using 3rd finger to bar DGB strings for A major. It's so-so thus far but I'm sure it will come around.
That will put you on your way 2 making a barred B 2 frets up (and every other chord you get as you scoot it up the neck) with first finger getting the bass strings.
Agree. This feels ackward at first - which is a sure sign it is a significant change - but well worth a bit of effort each day until it becomes remarkably easy. I am currently working on getting comfortable doing the same activity moving the "c shape" up the neck. This seems to allow for some very lush and interesting chords that give new life to those same old progressions. It started for me while trying to reproduce Bruce Cockburn's "Mama Just Wants to Barrelhouse All Night Long" from the original Ottawa Folklore songbook. Just a really interesting way to play a familiar bluesy accompaniment. 
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flatlander
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« Reply #23 on: January 01, 2012, 03:45:10 PM »

When you're moving the C up the neck, how do you make it? Barring all the way accross with first finger and using M. R and P to make familier C shape or just getting the 4 middle strings like this?
1/---------- x-----------------------
2/-----------3----------------------
3/-----------2----------------------
4/-----------4---------------------
5/-----------5---------------------
6/-----------x---------------------
               D
Or some other combination?
                                               A good variation on this for bluesy stuff is to make a C7 chord in the first position like this:
e/------ 0----                               Then slide down one fret and remove 1st finger and play only the middle 4 strings to make a B7
B/-------1----1st finger                   Or slide up the fretboard  from the original position shown only now the index finger becomes your barre and you are playing 7th chords
G/-------3----4th finger                   with the root still on the 5th string.  Again, you only play the middle 4 strings.  I find this position relatively easy to finger.
D/-------2----2nd finger
A/-------3----3rd  finger               While playing the barred chords up the neck you can noodle around with your 4th finger to add some embellishments on top of the chord.
E/-------0----                                 Hope this makes sense.
               
People, I'm learning some real good tips from this thread.  Keep em coming.

Kurt
  I gotcha on you're post that you snuck in while typing. and do same thing, strong pinky is good when other fingers tied up)
 and dang you. I love talking about chords amd will spend more time than I have talking about them. Hopefully others will chime in as my method came from "cheating gone wild"
I'll get to the "c" shape soon and If I don't fall out go on about the highly abusable "A: shape. But let me take a minute and preface by saying That I generally look at everything in terms of being 3 main chord shapes not 5. That isn't to say that the "G" shape and "C" shape aren't valid.  I just know E,A,D pretty much inside out and I see the "C" shape as a "D" And G shape as an "A".
 Both G and C just have notes added on top of A and D preimarily in the bass to make shape.
1/--------3----------------------------
2/-------(0)---------------------------   In open G the notes inside ( ) contain the underlying "A" shape. The rest IN THE WAY I USE THEM, is gravy on top.
3/-------(0)----------------------------
4/-------(0)-----------------------------
5/--------2----------------------------
6/--------3-----------------------------

1/-------(0)----------------------------- In open C the notes in ( ) contain the D shape.
2/-------(1)----------------------------
3/-------(0)-----------------------------
4/--------2-----------------------------
5/--------3----------------------------
6/-------------------------------------
Don't take as definitive because a lot of people including GA-ME find good use in using full shapes. Like I said, this is cheating gone wild. I'll be anxious to hear of good uses for my discarded shapes.
especially ones that done break your hand! :)

Further More my 3 main shapes shapes E,A and D I see as the same shape just moved across the strings. Huh?  I'm going to copy and paste from previous post explaining this. It's a very important concept that a lot of people don't understand. It comes from this thread, which has has much, much more in it, starting with basic understanding of how chords are built which is needed for the rest to make sense.     http://www.larriveeforum.com/smf/index.php?topic=23857.0   I'll leave this as one post lest I lose it before saving and start working on the next one which will be getting back to original thought of "C" shape going up neck.

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flatlander
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« Reply #24 on: January 01, 2012, 03:51:49 PM »

NOTE: IF YOU'VE SKIPPED AROUND, THIS IS A GOOD POINT TO GO OVER REPLY #20 OF THIS THREAD SO FOLLOWING MAKES SENSE!!! cop
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« Reply #25 on: January 01, 2012, 03:54:23 PM »

OK, the way my mind is racing about tearing "C" shape apart I'm quite sure I won't get to "A" tonight.  Like I said in previous post, I mainly see "C" as D shape. One ironic exception is in what was posted about moving C7 down to B7. Hard to call B7 as being out of D shape when 2 of the primary notes dropped below nut.
Anyway. I'm going to focus on chopped down versions of shapes which allow for plenty of movement within chord and can be used easily all over neck which is kinda where this started.
Finger pickers who always need to have bass line moving may need to adjust to fulfill that very important role.  So first is seeing the D shape in a different way making it more related to C.

1/--------2----------------------------
2/--------3--------------------------
3/--------2---------------------------
4/--------0----------------------------
5/--------0----------------------------
6/---------x---------------------------- We'll leave getting 2nd fret with thumb out, we're chopping down after all.
 Basic open D

1/--------2----------------------------
2/--------3--------------------------
3/--------2---------------------------
4/--------4----------------------------
5/--------0----------------------------
6/---------x----------------------------
Still basic D with 3rd replicated on 4th string. The C shape is starting to take form.

1/--------x----------------------------
2/--------3--------------------------
3/--------2---------------------------
4/--------4----------------------------
5/--------x----------------------------
6/---------x----------------------------
Chopped down D using strings 2-3-4 only. The note on 4th string replaced the 3rd previously gotten on first string and leaves I-III-V triad in place

To finish off turning into C shape add 5th string, 5th fret.

1/--------x----------------------------
2/--------3--------------------------
3/--------2---------------------------
4/--------4----------------------------
5/--------5----------------------------
6/---------x----------------------------

That's how I see "c" as coming out of D shape.  Now this shape or even more so previous triad only shape, can move around the neck very easily and can be made into other chords pretty easily.
For easy demonstration I'm just going to show triad. To make most of this it's pretty essential to understand a little chord contruction as shown is previous post's cut and paste or by going back to orginal referenced post. In quick review for D shape on strings 2-3-4 that we'll be talking about..1st must understand that chords are made of the 1-3-5 notes out of scale of which the chord is named. So if we were in open position here and in true D chord, it would reference D maj scale or notes D-F#-A. The III is on the 4th string, the V is on the 3rd string, and the I is on the second string. It's important to understand that so you can easily turn into another chord. It gives you a reference and you know whats going to happen to chord as you move each note.

Moving the I on second string. Whenever you know where the root of chord is you know a couple of things you can easily do. If you lower root one fret you are going to have a Maj 7th chord.
Lower it 2 frets and you have a dominant 7th chord. If able to lower it 3 frets you have a 6th chord. Raise it 2 fret and you'll have an "add 2" chord. (if 7th played as well it'd be called a 9th chord)
SO.....moving 2nd string note can produce these chords. The (x) notes are your options. I'm going to move shape up the neck to make easier. It's an E  chord now.

1/------------------x----------------------------
2/------(3)(4)---5---(7)----------------------- In moving notes up the neck you go from 7th to Maj 7 to Basic triad to "add 2"
3/-----------------4---------------------------
4/-----------------6----------------------------
5/-----------------x----------------------------
6/-----------------x----------------------------

Lots of usable action for blues and R&R on 3rd string. The 7th is more easily played here as well and is in the same place it would be in a C7 type shaped chord. Now remember that your reference is
fact that the V is on 3rd string string. If you raise th V 1 fret you get Augmented (5th) chord. 2 frets and it a 6th chord, 3 fret and it's a dominent 7th. For augmented you pretty much have to change fingering BUT you can do a bunch of blues and R&R stuff while keeping fingers in same place and just adding 6 and 7th frets with pinky.

1/------------------x----------------------------
2/-----------------5-----------------------------
3/-----------------4--(5)--(6)--(7)----------  Adding notes up neck here gives you Aug, 6th and 7th chords.
4/-----------------6----------------------------
5/-----------------x----------------------------
6/-----------------x----------------------------

4th string  Moving the note on 4th string change chords to these. remember the III is your reference point from triad
1/------------------x----------------------------
2/-----------------5-------------------------
3/-----------------4---------------------------
4/-----(4)-(5)--6----(7)------------------------ Goiing up  with (x) notes you get Add2, minor and sus (sus means replace III with IV)
5/-----------------x----------------------------
6/-----------------x----------------------------

So that's just basics of easy way to find chords. If you're having hard time with theory, in the mean time (until you learn!) Just add notes to any chord and see what happens by feel.  By no means limited to using only strings 2-3-4 but to me that's the gut of your chord and gives a good starting point. And like I said the E and A are very similar. I'll stop at that as to not confuse but will explain a little more when I get to "A" shape. A is a beauty because if you smash it as a barre it gives tons of options including playing lead out of chord easily. Heck with checking for my usually spelling erros. It bedtime!
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« Reply #26 on: January 01, 2012, 04:02:21 PM »

Flatlander, a very helpful way of explaining/understanding all these chords.  I regularly play them, put half the time don't know what they are called and never learned the basics of what notes in the scale change a major to a minor to a 7th etc.  I should definately learn those relationships as it would help a lot.  I'm going to check out your link tomorrow.

I still think learning to move some of the other chords up the neck is good to know, even if the resulting chord is really the same as a barred A, E, or D chord played on a different fret.  Presently, I only really play 1st position chords, barred A-Am-A7, or barred E-Em-E7 chords when I play rythym in our band.  I never really move the basic D chord up the neck but I want to learn to do that plus the C and C7 chords for more versatility and ability to add fills and embellishments with whatever free finger is available.

Kurt
If you're in a full band it works well to use chopped down chords that are so versitile. It's not like you have to fill the whole range and all the things you can do with them really add to rythym. In fact you may be staying out of conflicts with rest of band by chopping down too.
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« Reply #27 on: January 01, 2012, 04:08:10 PM »

Quote from: flatlander on December 28, 2011, 11:19:27 PM
...a lot of people including GA-ME find good use in using full shapes.


Matt, I rarely use a full barre chord as they tie up too many fingers. I usually rely on the thumb wrap to grab the bass notes and then grab the notes I need to outline the chord. I like to have fingers loose to grab melody notes and play my patterns over the chord. I do think it is a great idea to be ABLE to make the full barre shapes, and to change between them freely using the whole barre chord, because it teaches the fingers to obey. The movable D is probably the hardest to get used to for most folks followed by the movable G. However, as you said a strong pinkie is one of the most important things to devlop and being able to make the movable D and movable G full barres goes a long way to making that pinkie obey!
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« Reply #28 on: January 01, 2012, 04:09:19 PM »

Google the CAGED system and then have fun...
Not to poo poo CAGED by any means. But to GET STARTED on understanding how chords are made, I like to just keep it simple. If you start with just E A D it's easier because they are really the same shape chord just moved across the strings. The intervals are the same between the fretted notes and they all go V-I-III from bass to treble, on fretted notes. So if you learn one, you've learned all three. Then to boot, to me, D and C are really the same thing.  I consider C shape a fully extended D. And the lower bass notes of a D shape on strings 4 and 5, to be borrowed from the E shape below it. (this is all just how I see it and not saying that it would be best for anyone else, just a different perspective maybe)
Also the bottom line to anyone this confuses is that less is more to me. 3 shapes instead of 5 is where my thought process comes from. Cheating? perhaps but get to same place CHORD wise.
Look at the diagrahm below. I see all the notes between fret 2 and fret 5 (except 1st string 5th fret) to be one shape that includes D and C shape. I call it D because it wins 3-2 on # of notes from
"standard" shape. So Iv'e ditched one seperate chord shape. Now jump up to frets 12 and 15. There you can see the 2 notes out of the standard D shape. But what are they really? They are borrowed
from the stand alone E shape.

Now, whats my excuse for ditching the G shape? It's pretty much an "A" shape pieced together with lower portion of "E" shape.  And especially for my chord thoughts, doesn't help much especially since I primarily use the V-!-III  on adjacent strings as my reference, (the 3 fretted notes of open E, A and D chords.) It's great to borrow pices of a chord from the shape below or above and a good way to explore and find new ways to make chords. But my standard reference, starting point is just the 3 shapes.
 Now, I'm no CAGED system expert but know that lots of times it is used as a way to find scales for solo playing. That is a completely different thing and maybe very useful in filling in gaps that may be left by looking only at 3 shapes.  That's just how I see fret board. I'd love to hear if others have different ways of seeing it and showing me what I may be missing (as it relates to chords) from CAGED.
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« Reply #29 on: January 01, 2012, 04:10:43 PM »

I did try out slidin' up the C shape to make D, E, etc., and it was definitely doable with some work. On the other hand, I couldn't slide G up (yet), which didn't surprise me, as it took me over 4 months this year for my G major to ring clear.
Hmmm. What else can I think of to ask...?
Please ask questions! That's how I learn and will help me get more out of it.  Did you used the chopped down version of C shape when moving up the neck? It's as easy as can be and if you understand how it made you can always add to either side of it if you need more. If the 3 notes are enough for what you're doing you can rock out with it. Also you can let the 1st string ring open when sliding below diagram up 2 frets to E chord and when taking shape up to 9th fret to make A chord. Other places too you can let it ring open where it want be a basic triad anymore but
the open E will fit in as a 6th or whatever other flavor it might be in a particular position.
1/--------x----------------------------
2/--------3--------------------------
3/--------2---------------------------
4/--------4----------------------------
5/--------x----------------------------
6/---------x----------------------------

As far as moving entire open G shape up neck..That's hard! I don't do it. I consider it an A shape and get what bass note I need, but playing both of those bass notes on 5th and 6th strings...
well call me lazy if you want. But I am seriously hoping Ga-Me will rebuke me and show advantages of that shape up neck so I won't be able to justify my laziness. Seriously! The open G shape however IS great and a highly abusable thing. But if I need it up the neck.....there's a thing called a capo.  bigrin
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« Reply #30 on: January 01, 2012, 04:12:03 PM »

AGAIN:!!!   NOTE: IF YOU'VE SKIPPED AROUND, THIS IS A GOOD POINT TO GO OVER REPLY #20 OF THIS THREAD SO FOLLOWING MAKES SENSE!!! cop

OK Here's "A" shape,

1/-----------------                 1/-----------------            1/-----2---------III
2/-----------------                 2/-------2-------III           2/----3----------I                                  
3/------1----------III              3/------2---------I           3/-----2----------V
4/------2---------- I               4/-----2----------V          4/-----------------
5/------2----------V               5/-----------------            5/-----------------                                                              
6/-----------------                  6/-----------------            6/-----------------
          E                                     A                                        D

First off this is most important thing. Realize that E-A and D are the same chord shape really just moved across the strings. The fact that the 2nd string,B, is tuned to a different interval that the rest of the strings just forces the note played on it to raise up one fret as you move chord across strings,  to make up for fact that it is tuned half step lower. On Mandolin intervals are the same, so you can keep chord shape the same, and and since all notes go up a 5th and stay relitive to each other, the chord goes up a 5th like from C to G. The B string on guitar is what distorts the shape as you move across strings.  If you understand above, then understand how chords are built, you can understand a whole mess of chords. If you want to review how chords are built, you can reference back to this thread and the 2nd post.   http://www.larriveeforum.com/smf/index.php?topic=23857.0

Ok A. first off just open A This time on the left I put what degree of scale the fretted note is for major triad. Then you can see why chord name changes, (IF YOU READ ABOVE REFERENCED POST!)
It's rather cluttered because of all the options but keep seeing the  main shape on 2nd fret strings 2-3-4. I tried to turn them red but didn't work for some reason.

V  1/------------- -(2)---(3)-(4)-(5)------------------------------------------(2) A6 (3) A7 (4) A Maj 7 (5) A but with a chimey root A note on top
III 2/ --(0)(1)------2----(3)---------------------------------------------------  (0) A add2  (1) Am (3) Asus
I   3/---(0)(1) -----2---------(4) (5)------------------------------------------- (0) A7 (1) A Maj7 (4) A add2
V  4/------------ ---2--------((4)-(5)------------------------------------------ (4) A6  (5) A7
    5/---(0)------ -(2)---(3)- (4)------------------------------------------
    6/---(0)------ -(2)---(3)---------------------------------------------
First off with out even having to understand chord contruction, just play with that incredible arsenal of notes you have readily available. You can catch the entire melody of a lot of songs while holding shape, IF MAKING "A" BY BARRING IT WITH 1ST FINGER. Or Improvised leads or plenty of bass lines on bottom 2 bass strings.  Obviously if using the notes below 2nd fret you'll have to make chord with individual fingers. I'm  just going to show some of the chord names assigned when certain notes change. Remember you can use this same formula when applied to fretted notes of Open E and Open D shape.
   Otherwise just know that all these notes are available and more, and play around with just adding them in with adding them in.
 The chords made by adding or changing certain notes are ones I may generally hold as a chord perhaps. But also you can fly around on them just playing lead. The notes on the bass strings,5&6
can be added as bass lines. When smash barring the A shape you can slide it up neck and still use a bunch of the notes shown is this open shape. Genereally speaking, the ones on fret 2 and above are easily reached when entire shape moved up neck.  To demononstrate put a little 3 chord rock and roll or blues song in your head. Start with the open A chord then slide entire shape up to 7th fret and 9th fret for your other 2 chords.
 Folks got to stop here. I wanted to show a lot more about using up the neck and ways to move up the neck in sequence but.. Tons of stuff to do this weekend. There is so much more. Start understanding how these chords are made, or even just play with adding all these notes that are available and you can broaden your expression. After a while it comes natural. Bye for now and Happy New Years. and be safe! cop
          
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« Reply #31 on: January 01, 2012, 04:14:42 PM »

Can't stand it. Here's a way to tie the 3 A shapes together working you way up neck. You can use any portion of it or run all the way up (or down) the neck with it. The song could be holding an A chord thru entire sequence and this allows for movement even while staying on same chord. You can do the same type of thing starting with D shape or E shape. There are other ways to do it and you may want to add more 7ths or different thing but this gives you idea. Since this is out of A often the unfretted strings can ring open if you wish.
1/-------------------------------
2/-----------2-------------------
3/-----------2------------------  1st shape A
4/-----------2-------------------
5/------------------------------
6/------------------------------

1/-------------------------------
2/----------3--------------------
3/----------4-------------------- connecting chord
4/----------2--------------------
5/------------------------------
6/------------------------------

1/-------------------------------
2/----------5--------------------
3/----------6-------------------- 2nd shape (out of E shaped chord scooted up to be A
4/----------7-------------------
5/------------------------------
6/------------------------------

1/-------------------------------
2/-----------7-------------------
3/-----------6------------------- connecting chord (A6)
4/-----------7-------------------
5/------------------------------
6/------------------------------

1/-------------------------------
2/-----------8-------------------
3/-----------6------------------
4/-----------7------------------- connecting chord (A7)
5/------------------------------
6/------------------------------

1/-------------------------------
2/-----------9-------------------
3/-----------9------------------- connecting chord (that's all I'm gonna say, call it D if you want)
4/-----------9-------------------
5/------------------------------
6/------------------------------

1/-------------------------------
2/-----------10-------------------
3/------------9--------------------
4/------------11------------------- 3rd shape I call it my D shape, as explained previously, scooted up to A    sounds cool with unfretted strings ringing open
5/------------------------------
6/------------------------------

1/-------------------------------
2/-----------12-------------------
3/-----------9------------------- sounds cool with unfretted strings ringing open
4/-----------11-------------------
5/------------------------------
6/------------------------------

1/-------------------------------
2/----------14--------------------
3/----------14-------------------- And all the way back to original shape an octave up.
4/----------14--------------------
5/------------------------------
6/------------------------------
Like I said, other ways to do it but with these chopped down chords, none of them are any harder than making a simple open D chord or something. And you can always add to the sides if you want.
Also Like I side. you can start by just going back and forth between 2 of the positions. Then 3 or 4. Use what pieces of it you want then once you get the idea, FIND MORE!  BYE
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« Reply #32 on: January 01, 2012, 04:19:39 PM »

I have sent a PM to Lynn requesting that he let me combine this with 3rds and beyond thread. Do a little cleaning up and then post IT as sticky. Would be a more logical order and hace the chord theory 101 at beginning so reast would make sense to those who don't know about intervals and chord theory. The thead would start with 3rds, expand out to triads then explain or show how to make you own, more full blown chords. Along with little tricks along the way.
The above has now been done. The two threads combined and cleaned up. I will be requesting Tuffy to make THIS thread the sticky. He has already relied that he should be able to do so.
Happy New Years! I had a great one sitting in with band last night and just playing Harp. Floating here and there with fills, and ambience then honkin when given the nod. Such a fun, free way to float around musically.  Here's to 2012! 
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« Reply #33 on: January 01, 2012, 10:54:58 PM »

Lets put some of these notes and forms into practical use. Just go with 12 bar blues or boogie progression

1/----------------------------
2/---------2-------------------
3/---------2-------------------
4/---------2-------(4)------ while hanging on A just put (4) on and off.
5/-----------------------------
6/----------------------------

1/----------------------------
2/---------2-------------------
3/---------2-------------------
4/---------2-------(4)-(5)(4) ----- while hanging on A walk 4th string from fret 2-4-5-4
5/-----------------------------
6/----------------------------

1/----------------------------
2/---------2-------------------
3/---------2-------------------
4/---------2------------------.
5/---(0) (2) (3) (4)---- When getting ready to change to iV chord or D, walk up 5th string from frets 0-2-3-4 after getting to 4 you change chords to D-
6/----------------------------

1/----------------------------
2/---------2-------------------
3/---------2-------------------
4/---------2-------------------
5/-----------------------------
6/----(0) (2)--------------- off and on when hangin on A. Same as example 1 but in bass.

1/----------------------------
2/---------2-------------------
3/---------2-------------------
4/---------2-------------------
5/-----------------------------
6/----(0) (2)--(3) (2)------------- off and on when hangin on A. Same as example 2 but in bass.

on 5th fret
1/---------------------------------------------------------  This is a walk up leading into chord change to IV as shown on bass strings but usings whole shape.
2/----------5------7------8-------10-----10------------
3/----------6------6------6--------9------9--------------- The last chord is a D9 so you've made your change there to next chord.
4/----------7------7------7-------11-----10------------   Notice how easy to go from the A (2nd to last shape) to the D9 You can do the whole I IV  V there while barely moving fingers
5/-------------------------------------------9---------------- The last 2 shapes are your I and IV and simply scoot last shape up 2 frets for your V
6/-------------------------------------------------------

Here's one like the previous example but in this case walking it down.  Notice the 2nd chord, A7 and how it's made. In this case it's much smoother as going down,  to make 7th like this. It is also and example of borrowing notes from the shape below it.  Also notice that the movement is coming by moving the root down. If you've done homework and know the starting point shape, you know that the root is on the 2nd string. Futher more you realize that when when you move root note down 2 frets, it's the 7th, 3 frets and it's the 6th. The the movement here is felt by going from
A to A7 to A6 back to A where the 2nd string is now the 5th. So notewise...... root-b7-6-5 is what you hear and you can find other places and ways to do that no matter what key you are in.
Going down............

1/-------------------------------
2/-----------10-------------------
3/------------9--------------------
4/------------11------------------- 3rd shape I call it my D shape, as explained previously, scooted up to A    
5/------------------------------
6/------------------------------

1/-------------------------------
2/-----------8-------------------
3/-----------9------------------
4/-----------11------------------- connecting chord (A7) Made differently than it was on way up because it smoother transition on way down.
5/------------------------------If doing correctly your fingers don't have to lift off of strings for next 2 chords, Fingers are staying on same strings.
6/------------------------------


1/-------------------------------
2/-----------7-------------------
3/-----------6------------------- connecting chord (A6)When fingering this my pinky is getting 2nd string with index finger already in place on 5th fret for next chord.
4/-----------7-------------------
5/------------------------------
6/------------------------------

1/-------------------------------
2/----------5--------------------
3/----------6-------------------- 2nd shape (out of E shaped chord scooted up to be A
4/----------7-------------------
5/------------------------------
6/-----------------------------

1/----------(5)-------------------  (play this note if you want. if barring strings 2-3 like you should be, just a matter of laying finger on down over 1st string)
2/-----------5-------------------
3/-----------5------------------This time we finish off again by going to the next chord (remember this is in contect of 12 bar blues or boogie)
4/-----------4-------------------by going to the D chord here.
5/-----------5------------------ Again, as on way up, this is D9.
6/------------------------------

The 9th shapes are pretty darn easy you can sound uptown and impress friends and family when they are really simple!  bigrin

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« Reply #34 on: November 12, 2013, 05:23:02 PM »

I've been a member here for a while now but just found this - thanks, very informative!
DD
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« Reply #35 on: November 23, 2013, 09:00:56 PM »

I wondered if anybody looked at this still! A lot of it is just short cuts and cheatin but knowing the intervals can be very helpful. Thx.
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« Reply #36 on: November 23, 2013, 09:26:59 PM »

I have looked at it but haven't taken the time to study it as much as I would like. Thanks for the effort.
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« Reply #37 on: November 24, 2013, 02:45:08 PM »

Let me try to give an overall sumatation of what this stuff is about since it popped back up and people who never noticed it will know and decide if they may want to look it over. I'll start with some practical reasons to look at these and why I started digging into it. It was the best thing I ever did with guitar and is the basis of a lot of the way I play now.  The short story is that I went from playing in a full band, rhythm, and was lucky enough to have good pickers want to play with me that would cover lead great. Then I moved and started playing in duets, with just a bass player or one other acoustic player. It was going to be up to me to play lead. It's hard to get a lot of full sound and energy in that situation with acoustic and plus if I'd go to single string lead the fullness would drop out. ONE thing this stuff does is give a good start on playing lead by playing multiple notes/strings at one time not only giving a fuller sound but  also can give flavor of say a mandolin OR grind a couple notes against each other (b7ths,b 3rds or 5ths) for blues, that are more expressive than single string for most. And you don't have to fly around neck.
  Another main thing it does is take you to finding lots of little chopped down chords. If you know where the 3rds are and understand BASIC chord construction (I show an easy way, I think to see that in chords) then you can take those 2 notes intervals and either know, or just peck around for another note to add and find new chords. Often these smaller chords leave fingers available to do hammer on. walk towards next chord etc.
 The info is NOT going to make you a jazz rhythm king, if it did that's what I'd be doing and trust me I don't have a grip on all that stuff. . It could get you started that way I suppose. But there's enough info here to really spice up, as I do, Country, blues, pop just your relatively basic stuff. Like I said, these ideas transformed my playing where people see me as a decent player now at which I would have used to have just laughed at them. The best thing I ever did.
 Also this is more directly applicable to flatpickers but finger pickers can use it as well for sure. It just doesn't have a whole lot in it about covering the bass/thumb notes. But you can find that on your own. (I do finger pick a little too)
 If I can find time today or tomorrow I'll record some samples of how much they spice things up.
 So if this sounds like something you are interest in, just take your time, and study this stuff a little each week. If you don't know it already it will really spick up your playing and give you better understand of neck.
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« Reply #38 on: July 03, 2014, 09:04:20 PM »

flatlander,

what a treasure trove!  thanks for putting this together (i can't imagine how many hours)!

a lot of the stuff i studied in the past seemed to come together much easier after following your posts.

 by any chance, did you get around to recording any demos of the lessons?
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« Reply #39 on: July 07, 2014, 02:08:07 AM »

Thanks, No I haven't done anymore with this. I got divorced not long after I wrote that stuff and dove back into gigging a lot. Plus learning new instruments, along with songs etc. Busy.. BUT
if you have any questions about it or ideas..PM me and I'll see if I can clarify. I encourage you to do that because it  might make me think about something and learn myself.
Again, this is not rocket science here. It's just basic chord theory and how to use it to spice up even simple tunes.  matt
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