how to practice chords

8/18/2019 How to Practice Chords

1/13

PRACTICE & TRAININGHow to Practice Chords

http://www.youtube.com/watch?v=IngEgjRe8kI

By Andrew Wasson

Visit: www.creativeguitarstudio.com

SECTION ONE:

Expanding Chord Knowledge Through Fingerboard Harmony...

ANALYZING; CHORD INTERVALS,CHORD QUALITY, & VOICINGS

When studying chords on the guitar ngerboard, (beyond the basic open position group),

we need to begin by understanding the relationship of the chord tones on the neck. We also

need to comprehend the way the root notes function in different areas. To a large extent, this

involves the study of the different ways that chord tones lay on the ngerboard in various

locations. And, without an in-depth knowledge of this theory, chords can be difcult to build.

Another area that we need to have (at the very least) a basic understanding of, is how

extensions and alterations to the standard Triad & Seventh chords function. These changes

to various chord types occur directly upon the fret-board from the most common triad and

seventh chord patterns.

There are several ways for practicing all of these chord principles. It is vital that time is spent

using all of the study situations. Without the study, the skills required to play many different

chord types, in realistic progressions, (that we can expect to nd at; band rehearsals, or on a

gig), may never properly develop. Keep in mind, this will most certainly take time to develop.

But, since understanding chords is such an important area for us, it is simply one area of studythat we must pursue until we become procient!

Since chords make up more than 50% of the overall craft of playing the guitar, we need to

spend a generous amount of time studying them. Generally, unless a guitar student attends

a music college, (or decides to dive into the world of jazz harmony), they can go on for years

without learning much more than the open chords and a few barre chords. However, by using

the study system that I have for you in this video, you’ll be able to greatly expand both your

theoretical knowledge of chords, as well as, your ability to execute dozens of new chord types

over time. This lesson will be divided into three parts. An on-screen video tutorial covering your

guitar set-up and how to design your study routine. Then, we head to the guitar and examine;

chord tones, chord quality, and how both the ‘extended’ and ‘altered’ chords are created. At theend of the lesson, we’ll also get going on a couple of excellent chord rehearsal exercises.

© Creative Guitar Studio 2014

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2/13

How to Practice ChordsPage (2)

SECTION TWO:Guitar Set-up and Your Personal Practice Routine...

Before the hours, weeks and months of neck theory, chord patterns and jam sessions you’llneed in order to develop your chords - it would be smart to begin with taking a close exam of

your gear. Aside from you equipment, a few decisions should also be made regarding how you

will establish your daily study routine. Watch the video lessons’ on-screen tutorial and follow

along through the points highlighted below to learn more.

Figure 1). Read over the important set-up and study routine information given below.


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3/13


SECTION THREE:Basic Chord Theory Applied to the Guitar Fingerboard...

The rst step to take, is to plot one scale tone, (to eventually function as a chord root), andconrm it’s fret-board location off of the; 6th, 5th and 4th guitar strings. In example one, we’ll

use the scale tone of, “G,” and plot it’s location across the fret-board.

Example #1). Practice the various locations of the “G” root found on 6th, 5th and 4th strings.

The next most important idea is one of knowing where every chords Root and third are located.

These are known as the primary, “Chord Tones.” Every chord uses them to determine quality.

Example #2). Practice the “G” Root played up into the two registers of the major 3rd interval.

In example three the 3rd chord tone is lowered. This lowered, or “minor,” third is what gives us

chords which produce a Minor chord quality.

Example #3). Practice the “G” Root played up into the two registers of the minor 3rd interval.


I

T

A

B

44(G)

U

3

U

10

U

5

I

T

A

B

G

V

3

V

2

VV

4

VVVVV V

10

V

9

VV

12

VVVVV V

5

V

4

VV

7

VVVVV

Root


4/13


Section Three Continued...

In example four, I have the third most important chord quality in music. It is the Dominant 7th

chord. This is a major triad with a b7th tone added.

Example #4). Practice the “G” Root played across to minor 7th and the major 3rd interval.

APPLICATION ASSIGNMENT:

Using the staves below, practice establishing the various intervals discussed in examples one

through four. Study the major and minor 3rd’s, as well as, the dominant 7th.


I

T

A

B

G7

V

3

V

3

VW

4

WW V

10

V

10

VW

12

WW V

5

V

6

VW

7

WWRoot Min. 7th Maj. 3rd

I

TAB

44

ITA

B

44

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SECTION FOUR:The Study of Chord Extensions..

Chord extensions are the next important area of chord practice. These extensions offer morecolor on a chord without affecting the chords quality. The rst extension we’ll study is the 2nd

degree and (of course) it’s compound interval. the 9th. Our rst chord study will be the

“Major add2.”

Example #5). Practice the “G” Root played across to the major 3rd, and the major (add) 2nd.

The next extension we’ll look at, will be the 6th degree, (as well as, it’s compound interval

the 13th). Always keep in mind that in order to name a chord with the compound interval, the

chords 7th degree must be present. In the case of adding either a 6th or a 13th, this means that

a triad would simply extend to become 6th chords. However, for the 7th quality chord we would

extend beyond the 7th out to the compound interval of 13th.

Example #6). Practice the “G” Root played across to the major 3rd and the major 6th interval.


I

T

A

B

G

V

4V3

V

5V(5)

Gadd2

W

5

W

4W3

Gm

V

3V3

e V

5V(5)

Gmadd2

W

5

W

3W3

Gmaj7

V

4

V

4

V3

gV

5V(5)

Gmaj9

W

5

W

4

W

4

W3

Gm7

V

3

V

3

V3

e V

5V(5)

Gm9

W

5

W

3

W

3

W3

G7

V

4

V

3

V3

V

5V(5)

G9

W

5

W

4

W

3

W3

Root / Maj. 3rd (add2)

I

TA

B

G

V

4

V

3

V

2

G6

W

4

W

2

W

3

Gm

V

3

V

3

e V

2

Gm6

W

3

W

2

W

3

Gmaj7

V

4

V

4

V

3

g V

5

V

(2)

Gmaj13

W

5

W

4

W

4

W

3

Gm7

V

3

V

3

V

3

e V

5

V

(2)

Gm13

W

5

W

3

W

3

W

3

G7

V

4

V

3

V

3

V

5

V

(2)

G13

W

5

W

4

W

3

W

3

Root / Maj. 3rd Maj. 6th



6/13


Section Four Continued...

Before we move on, it is important to mention that the 4th and the 11th extensions are unique

ones. Since their application is most commonly split between suspended chords, (which have

no 3rd), and the common use of the 11th on minor chord qualities, we will need to understand a

short-list of rules when it comes to the application of the 4th and 11th extensions.

- Chords with no third, but which include the 4th or 11th are, “Suspended.”

- The extension of the 4th or 11th are rarely applied to major chords.

- Minor quality seventh chords with the 4th added are named as, “Minor 11.”

SUSPENDED CHORDS:

When a suspension is applied, (these can occur as either the 4th or the 2nd scale degrees

acting to replace the 3rd chord tone), the chord is “suspended” from having a quality of Major orMinor. This is due to the fact that the 3rd chord tone is the one that is the quality identier tone.

‘ADD’ CHORD TYPES:

If the 4th is added onto a Major or Minor triad chord, and the 3rd degree is kept within the

structure, the chord is considered to be either major or minor, “Add 4.”

11th CHORD TYPES:

The extension of the 11th is applied most commonly by placing the 4th chord tone on top of

an existing Minor Seventh chord quality. This produces the popular Minor 11th chord. The 11th

extension can also be used upon a Dominant 7th chord as well. However, it is important tomention that this chord, (often seen notated - for example - as, “G11,” within a chart), would

be understood to be a chord that does not contain a 3rd degree, and would be performed as a

suspended chord type. Most Dominant 11th chords will also contain the 9th as well.

For more information on the 11th chord, along with other extended chord concepts, please watch

other lesson videos that I have produced which cover these specic topics in greater detail.

• Suspended Chords

• Analyzing 11th and 13th Chord Extensions

• Harmonized Moveable Chord Shapes - Part 1• Harmonized Moveable Chord Shapes - Part 2


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7/13



SECTION FIVE:The Study of Chord Alterations..

The rst alterations we will study are the, b5 and the #5. Normally diminished and augmented 5thalterations are most commonly found on the Dominant 7th quality chords. However, there are

such a thing as Major and Minor altered chord types. In fact, one of the most common would be

the popular, “Minor 7(b5),” chord, which is the seventh step chord in the major harmonized scale.

Another popular altered type is the, “Major 7 (#5).” This augmented major seventh chord is found

in the harmonized scales of both Harmonic and Melodic Minor.

Example #7a). Make a study of the intervals and the chord patterns, for the Dominant 7thb5 and #5 chords given on the staff below.

Using another, “G7,” chord as our foundation, I’d like to study two other very popular altered

chord types. They are the dominant altered chords of, “b9 and the #9,” chords.

Example #7b). Make a study of the intervals and the chord patterns, for the Dominant 7thb9 and #9 chords given on the staff below.

i i i

I

TAB

G7

W

4

W

3

W

3

V

(2)

V

(4)

ggV

(4)

V

(6)

ee

G7`5W

2

W

4

W

3

W

3

eG7+5

W

4

W

4

W

3

W

3

ee

G7

W

0

W

4

W

3

W

3

V

(1)

V

(4)

ggV

(6)

V

(3)

eeG7`9W

0

W

1

W

3

W

3

e

G7+9

W

6

W

4

W

3

W

3

g



8/13



SECTION SIX:Chord Practice Application Assignments..

Now that we’ve completed our chord-tone study section, I wanted to move along to the world ofapplying of these chord types. The rst application study will be the practice of what is likely the

most popular chord progression in music. It is the I, IV, V progression. However, for our routine

we’ll be doing something slightly different with this chord progression. We’ll modulate the key at

fth intervals from each tonal centers root. This means that if we begin in the key of, “G,” then

after performing the G, C, D chord changes, (in that key), our next key will be that of, “D,” (since

“D” is a fth interval away from the key of “G”). Then, if “D” is our 2nd key, then “A” would be our

next, since the key of “A” is a fth away from the previous key of, “D,” etc.

Example #8). Practice playing through the modulating keys I, IV, V7 chord changes given below.

i i i

I

TAB

G

V

3

V

3

V

4

V

5

V

5

V

3

V

3

V

3

V

4

V

5

V

5

V

3

C

V

5

V

5

V

5

V

3

V

5

V

5

V

5

V

3

D7

V

3

V

5

V

4

V

5

g V

3

V

5

V

4

V

5

kG

V

3

V

3

V

4

V

5

V

5

V

3

c WWWWWW

D

V

7

V

7

V

7

V

5

g V

7

V

7

V

7

V

5

G

V

3

V

3

V

4

V

5

V

5

V

3

V

3

V

3

V

4

V

5

V

5

V

3

A7

V

5

V

5

V

6

V

5

V

7

V

5

g V

5

V

5

V

6

V

5

V

7

V

5

kD

V

7

V

7

V

7

V

5

cg WWWW

i i i

I

TAB

ggg A

V

5

V

5

V

6

V

7

V

7

V

5

V

5

V

5

V

6

V

7

V

7

V

5

D

V

7

V

7

V

7

V

5

V

7

V

7

V

7

V

5

E7

V

5

V

7

V

6

V

7

V

5

V

7

V

6

V

7

k A

V

5

V

5

V

6

V

7

V

7

V

5

c WWWWWW

E

V

9

V

9

V

9

V

7

V

9

V

9

V

9

V

7

A

V

5

V

5

V

6

V

7

V

7

V

5

V

5

V

5

V

6

V

7

V

7

V

5

B7

V

7

V

7

V

8

V

7

V

9

V

7

g V

7

V

7

V

8

V

7

V

9

V

7

kE

V

9

V

9

V

9

V

7

uWWWW

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9/13

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10/13



11/13


How to Practice Chords Page (11) - Video Opening Guitar Jam

The Things We See by Andrew Wasson

A Intro

ITAB

44

P = 132B6

V

7

V

6

g V

8

e V

6

g V V

8

V

6

Bm11

V

7

V

(7)

V

7

V

7

V5

V V

7

V

7

Amaj7

V

5

V

6

g V

6

g V5

V V

6

V

6

Dadd4

V

5

V

(5)

V

4

g V

0

V3

W

I

TAB

G

V

3

V

0

V

0

V

3

V V

0

V

0

F/G

V

3

V

3

V

2

V

1

V V

2

V

3

(F/G)

V

1

V

2

V

3

V

3

V

1

V

2

V

3

V

3

k V

1

V

2

V

3

V

3

c VVVVV

1

V

2

V

3

V

3

G/A

V

3

V

4

V

5

V

5

V

(3)

V

(4)

V

(5)

V

(5)

V

5

V

7

V

5

V

sl.

7

V

9

V

sl.

8

V

10

B Verse

IT

AB

Dmaj7

V

7

V

6

V

7

V

5

gg V

7

V

6

V

7

V

5

c VVVVck V

7

V

6

V

7

V

5

V

(7)

V

(6)

V

(7)

V

(5)

V

4

V

7

V

4

V

P

7

V

4

V

sl.

5

V

7

Dm7

V

6

V

5

V

7

V

5

V

6

V

5

V

7

V

5

c VVVVck V

6

V

5

V

7

V

5

V

(6)

V

(5)

V

(7)

V

(5)

V

P

6

V

5

V

P

7

V

5

V

P

7

V

sl.

5

V

3

I

TAB

Am7

V

5

V

5

V

5

V

5

V

5

V

5

V

5

V

5

c j

Gm7

V

3

V

3

V

3

V

3

e V

(3)

V

(3)

V

(3)

V

(3)

V

H

5

V

5

V

6

k V

5

V

5

V

7

G/A

V

3

V

4

V

5

V

5

V

3

V

4

V

5

V

5

c jF/G

V

1

V

2

V

3

V

3

V

(1)

V

(2)

V

(3)

V

(3)

G/A

V

3

V

4

V

5

V

5

WWWW

C Bridge

I

TAB

Dmaj7V

10

V

10

V

10

V

10

k V

H

10

V

12

V

10

W

(10)

V

10

V

sl.

8

V

7

g V

9

Bm7

V

7

V

7

V

9

V

7

k V

H

7

V

9

V

6

g V

(6)

V

7

k V

5

c k V

4

cg kG

V

5

c

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12/13


How to Practice ChordsPage (12) - Video Opening Guitar Jam

I

TAB

1.

(G)

V V

7

V

7

W A

V

7

V

9

u W

9

Bm7

V

11

g V

12

V

10

V

12

WCbm7V

12

V

14

g V

15

V

12

W

I

TA

B

2.

(G)

V

5

V

7

V

7

W A

V

7

V

9

u W

9

Bm7V

11

g V

12

V

10

V

12

WCadd2V

12

V

11

g V

9

G/B

V

12

V

11

g V

9

V

7

D Chorus

I

TAB

Dm7W

6

V V V

6

V

(6)

u V

5

V

7

u Vu V

5

Am7

V

4

V

5

V

7

G/A

V

5

WBm7

V

9

V

7

V

9

Cmaj7V

8

W

ITAB

Dm7W

6

V V V

6

V

(6)

u V

5

V

7

u Vu V

5

Am7V

P

10

V

8

V

8

G/AV

8

W Bm7V

H

10

V

12

kCmaj7V

12

u W

ITAB

Am7

W

14

V V V

14

V

(14)

u

V

12

V

13

u Vu V

15

B`7V

12

u V

(12)

V

13

V

12

V

15

Vu V

13

G7

V

12

u

V

(12)

V

15

V

12

V

15

W



13/13


How to Practice ChordsPage (9) - Video Opening Guitar Jam

Thank you for your donations & Generous Support - Andrew Wasson

E Outro

I

TAB

C

V

8

V

8

V

9

V

8

V V

10

jB`V

11

e V

13

V

10

V

11

WF

P

sl.

12

z V

14

V

13

V

15

V

12

V V

13

V

14

A`V

16

e V

13

V

15

V

16

W

ITA

B

1.

C

V

8

V

8

V

9

V

8

V V

10

jB`V

11

e V

13

V

10

V

11

WF

P

sl.

12

z V

14

V

13

V

15

V

12

V V

13

V

14

AV̀

11

e V

13

V

12

V

13

V V

15

V

15

e

ITAB

2.

C

V

8

V

8

V

9

V

8

V V

10

jB`V

11

e V

13

V

10

V

11

WF

P

sl.

12

z V

14

V

13

V

15

V

12

V V

13

V

14

AV̀

11

e V

13

V

12

BV̀

13

V V

15

V

15

eC

U

8

U

8

U

9

U

10
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how to practice chords

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