Thread: B chord !!!!!
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Old 04-15-2001, 07:45 AM
mapletrees mapletrees is offline
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Johno...that's a good tip...there is wide variation between folks as far as that ring finger bending 'backwards' thing...

here's two more shapes where people often plop their pinky down like you suggested...

these are basic 'movable' chord forms

minor 7th...in this case Am7

5x5555 ideally you want your middle finger to play the bass on the 6th string and your ring finger to play the rest of the strings ...use your pinky on the high string if you must though...note that if you were playing fingerstyle instead of strumming you could just barre this whole chord with one finger...

and the following 9th chord shape...in this case D9 (a dominant chord...not Dadd9)

x54555 ideally with your ring finger playing the high three strings...again pinky playing the high string if you must..


Hey...

How about two measures on the Am7 and two measures on the D9, over and over with a Carlos Santana sort of Latin and funky 16th note feel?

these chords are derived from the G major scale which is

G A B C D E F# G

How about connecting those chords with funky little hits on triads and inversions from the G major scale on the high strings...you can't really mess up with the ii and the V7 chords.......get out your wah-wah pedal...

..if you have no idea as to what triads sound like when played out as chord fills...think of Pink Floyd's Another Brick in The Wall...just after they sing "hey, teacher, leave those kids alone..." you'll hear some high and quacky chord hits....they're triads (3 note chords - very important stuff...it'll be the next section in those basic music theory posts)

in the 'Wall' David Gilmour plays

Dm as xxx 10 10 10

then

C as xxx988

then back to the Dm

then back to the C

then

G as xxx787

then

F as xxx565

of course you've got to do it with the correct rhythm and feel....

2nd guitar parts of songs are often derived from the moving of triad and interval shapes around the neck...'must learn' stuff....


also...

Played from the 2nd to the 2nd the G major scale is thought of as the A Dorian mode...

A B C D E F# G A = A Dorian

Played from the 5th to the 5th the G major scale is thought of as the D Mixolydian mode....

D E F# G A B C D = D Mixolydian

yes we use A minor pentatonic but we'd like the extra tones of these modes.....

with modes...

1)emphasize chord tones
2)emphasize the non-chord tones that distinguish the mode...

for example to get the sound of A dorian you need to emphasize the notes of Am7 which would be

Am7 = A C E G How to emphasize them?...target them...start licks and end licks on those tones....You're a guitar player don't forget... BEND BEND BEND! Bending to the chord tones really emphasizes them....don't play like an old geezer (unless you mean to)...BEND! Do you always bend the same way...just whole steps?...c'mon...

What about triads superimposed over chords, too?????

????????

Now how do we use the distinguishing non-chord tones of A dorian....well ..

Step One would be identify what notes those are of course....

Compare the A dorian mode to the other minor modes of the G major scale....which would be B Phrygian, E Aeolian and F# Locrian (we don't really give much of a hoot about the Locrian mode, frankly, though..

E Aeolian would be

E F# G A B C D E

Note that (ask ask ask) both A dorian and E Aeolian both have a :

Root
major 2nd
minor 3rd
perfect 4th
perfect 5th
minor 7th
and octave of course...

So how are they different?

Dorian modes all have major 6ths..
Aeolian modes all have minor 6ths....

In particular, A dorian has the note F# as it's major 6th...

In particular, E aeolian has the note C as it's minor 6th....

Shorthand would be that the formula for any Dorian mode is

R 2 b3 4 5 6 b7 R

and any Aeolian mode has the formula

R 2 b3 4 5 b6 b7 R

How are you going to emphasize that F# in A dorian?

What about the note B in A dorian? That's a distinguishing non-chord tone of this mode, also....

to see that..


note that the other minor mode in G major is B phrygian.....

B Phrygian is B C D E F# G A B

Note that B Phrygian has B as a root and C as a minor 2nd....

A dorian has a major 2nd...the note B...the major 2nd is a distinguishing feature of this mode...we'd like to bring it out...

How will you emphasize the B over the Am7 chord of A dorian?

????

Triads, anyone???????

?????

And more to say about the chord tones....bending is an art...

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