Moving Open Guitar Chord Shapes

As civilized human beings we have developed a language of descriptions to help us name and identify certain things, for example, if you said handsome guy who plays

guitar

, you would be talking about me or maybe five or six other guys now if you are to be more specific and say Shawn Daniel, a cute guy who plays

guitar

, then we've really narrowed it down, right? Unfortunately, guitar

chord

s do not share the same principles. In fact, if you said you played the G

chord

, 90% of guitarists would do it. just do something like this, one of the first chord

shapes

we learn, one of the easiest, but actually, if we try to move the shape, it doesn't really work and it doesn't work for certain few reasons that we can.

I'm not talking now and how we can use the knowledge that you already know innately in your head to turn this into a

moving

form, so let's talk about why it doesn't work as a

moving

form if we have these three fingers down on the right. here, the right middle finger on the index finger three to the ring finger or little finger, whatever on the bottom string three, you can think of it as three different notes and any major or minor chord will always be just three different notes, it's called triad of three. note chord right now, although we are only holding down three different notes, we are playing six strings and what you have to remember is that the

open

strings are helping us, so although playing one shape will produce a certain result in a position If you move the position that way, you have to bring the

open

strings with you, so real quick we're going to talk about the notes that you're playing when you play just a G major chord, so the first one is a G. the second is B and the third is D now to fulfill the G major chord triad we have already succeeded we do not need any more notes the only reason we are adding more strings is because it is easy to do so and it will produce a sound larger, so we have a G, a B, a D, another G, another B and another G, in fact, some voice things that you will see for G major look like this and all we are doing there is We take a si and we add another re, so we have a very similar dish compared to one with more bees.

Any combination of G and D will give you a G major chord if you had a guitar with 100 strings. and you had 100 bees, a G and a D, which is still a G major chord, it doesn't matter how many you have of each, it's just that it exists and it's there, so we'll start to see an investment in music. when you're playing a chord but you're not playing the root note first, then the root note of a G major chord here is where your middle finger is, so that's where the G is, that's what the name of the chord is responsible for. a G, then we have a B and a DIA, now we're going to look at those three notes G B D as our first moving chord form that we can use anywhere, so it's like you've ever heard of the caged chord system.

The principles in this are the same, but we're just going to focus on one shape and look at the inversions around the neck with just this specific chord, so we have a three note triad and we can move this anywhere now. to be any kind of major chord, we just happened to have it based on the note G here, if we were to lower it once, we're going to take that open string with us, we're going to make D to D sharp and it's going to look like this you can use your pinky to do it a little bit. easier, so that's G sharp major, continue with major, sharp major, B flat major, B major, etc., now you have to be careful and not play all six strings. you do it this way, you just hit the ones you're holding, but that's what allows us to make a moving shape and turn a shape into twelve different chords because there are only twelve notes in music, so we base it on one of the twelve notes or we have twelve different chords with one voice now the first inversion of this is instead of having a G B D we are going to have a D and a G, so the same grouping notes just started in a different one first and if we go back to the normal G major form, there's open B, open D, right, so as long as you play just the D and G strings, we'll get the same chord.

Now I can move this properly, all I need to do. Remember that now my root note will be whatever the G string is, so if I know that the fifth fret on the G string is a C, I can go down an octave just fine. To see, I can do the same thing here where I have seven to five D five G I'm just taking a little bit of that G chord and now I'm moving it around, so that would be the first inversion of that right now, if we go one step further, we can just look at the same shape again, but now I'm just going to focus on all the open strings and this is probably the easiest way, since the easiest way to play a G chord is to just play these three strings, D, G and yes, right now I can move too. this one actually in a major chord it's actually just this inversion now in a major chord you also have open strings but we don't need them we can play the ones that we hold down and you do a sharp B C C C sharp E over and over again okay and then the last thing we're going to do we're going to the bottom three strings, so now if you look at this, won't it be a little bit interesting because if we just take the The last three we have a G, a B and another G, so we don't have a D in this .

Now you can get away with using this as a replacement for a major chord, but to really be a major triad, we need to have a D in there somewhere - okay, now I'm only getting the bottom four strings, so if you turned this up a fret you would have to take them all with you to make your G sharp, they are all with you to make a major, a sharp major, B major, C major, etc., so we have really taken little pieces of this chord and turned them into the first voice, second voice, third voice and I guess kind of fourth voice if you want to look at it now, why do we need to know this is really useful if you like compositions and stuff like that and maybe you want to be a singer/songwriter acoustic, solo singer/songwriter in general when you're writing a good rule of thumb is to keep the melody at the top.

What does it mean to have a melody like, for example, you are going to sing a note on a chord and you want it to be G at that moment? I want your voice to be on top of the melody, so if you're going to sing this note maybe you should play a voice that doesn't end with this note because then you'll be competing frequencies with the instrument in your voice, so knowing different voices is a good way to make room for a voice or another guitar or another instrument in general. If you have a two-guitar attack, like two people in a band, they both play guitar and one person plays guitar.

When playing an open G chord, you might want to find a different voice to give it more dynamic range and fill out the sound spectrum a little bit, so maybe one person could be playing a G up here and another person could be playing a G chord up here. playing like a higher G down here and just add a variation so it doesn't all sound the same, especially if you feel like you're getting stuck with your own compositions, try using different inversions of different chords and just really open up a lot of creativity and you're going to master the tuning fork on the way to