And - this is nice - you don't have the strumming accuracy issues that is inherent in the guitar with the additional lower two strings, five and six. So I asked my mentor and music guru, Chuck Anderson, "How do you remember so many chord shapes? For more advance chords you create them on the fly as needed from a solid base foundation of core chords. It's all about deriving new information from known mate. Beyond memorizing the basic open position, their movable form versions and a basic set of core 4-part chords.
You create all other chords on the fly as needed. With a knowledge of how chords are constructed and the notes of the fingerboard this is possible. Heck, with this knowledge you can write you own dictionary, software or series of chord lessons. Ultimately your core chords expand to include more chords than you ever thought possible to learn. Basic open position and movable form chords are the basis for this Ukulele Chord a Week series of lessons.
The original series ran in the first part of and has been enhanced and improved ever since. Movable chord forms are chords with no open strings.
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These chords are transposable by moving each note of the chord the same number of frets up and down the neck. Each movable form is based on a common open position chord. Movable forms allow you to play chords not found in the open position. Movable form chords allow you to play in any key and transpose chords to any key. From these basic movable form chords more advanced chords can be created. Practice progressions and additional chords are derived from the lesson's main chords. The chord tones and intervals of the chord are shown and more….
Major Chords Major are the most common chords and so common that they typically pronounced without the qualifier major and simply written as a single capital letter. Any other symbol would be rare and you'll need to figure it out based on the content it is being used. Lesson 1 - A Major the A-Bb movable form. The Canadian chord - Eh? Lesson 2 - C Major the C-Db movable form.
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Lesson 3 - F the F-Gb movable form. Lesson 4 - G the G-Ab movable form. Lesson 6 - D the D-Eb movable form. Lesson 7 - E the E-F movable form. Note: There's no open position B major chord in C tuning. However anyone of the above chords can be transposed, using it's movable form to create a B major chord. Minor Chords Minor are the second most common chords and typically pronounced as minor.
Can be written as: m , min , -. Lesson 8 - Am the Am-Bbm movable form.
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With the introduction of the first minor chord we can start to do a wider variety of chord progressions. Lesson 9 - Cm the Cm-Dbm movable form. Lesson 10 - Dm the Dm-Ebm movable form. Lesson 11 - Em the Em-Fm movable form. Lesson 12 - Fm the Fm-Gbm movable form. Lesson 13 - Gm the Gm-Abm movable form.
Typically written as: 7. Lesson 14 - A7 the Bb7 movable form. Sometimes inaccurately referred to as a dominant seventh chord. This seventh chord is a core chord. From your core chords ALL other 4-part chords can be derived. Lesson 15 - B7 the B7-C7 movable form. Lesson 16 - C7 the C7-Db7 movable form. Lesson 18 - E7 the E7-F7 movable form. Lesson 19 - F7 the F7-Gb7 movable form. Lesson 20 - G7 the G7-Ab7 movable form. This is a very common chord.
It's sometimes the second or third chord that a ukulele player will learn after C and G. Amazing content and well thought out. Cons: None. Very systematic with tons of examples that you can incorporate into your practice routine. Recommended for intermediate to advanced guitarists, though still worth getting for beginners to jazz as a mainstay in your library and reference collection. Get the book from Amazon here.
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You dig? Your email address will not be published. But, now that the tuning is different we cannot simply move the shape across, rather some notes need to be moved to compensate for the tuning. So, we get the three shapes as seen in figure 8. They all have an open fifth between the lowest two notes. Figure 9 shows these three chord voicings as we use them on the standard guitar. You may look at these shapes and recognize them from playing.
The left is the E major shape, the middle is the A major shape and the right is the D major shape.
Now, as I stated before, these three shapes have an open fifth between the lowest two notes. This means that, in root position with the C as the lowest note in this case there is another voicing possible with an interval of a third in the lower two voices.
These voicings are written in green in figure Have a look and see if you can identify them as C major and G major shapes. Figure 11 is an important one to study. It shows that these five major chord shapes interlink and span the twelve frets of the fingerboard and then proceed to repeat. The usefulness of this knowledge allows us to see the fingerboard not in individual notes but as five units that act as pillars for us to understand the arrangement of the fingerboard. You will also see that the order of these interlinking shapes is actually spelled out by the word CAGED.
Playing all of these shapes one after another will have the same chord C major in this instance but with different voicings that cover the fretboard. These examples all used the chord of C Major with the notes C, E, and G but the principle applies to any major chord. In the next look at the CAGED system we will start to look at implementing these shapes in the repertoire and find some examples of where it occurs.
I find that by thinking with these shapes, I can quickly bring together groups of notes as a unit rather than piecing them together one note at a time.
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Perhaps iff there had been early emphasis on melody perhaps the all 4ths would have been the norm for tuning. It was probably a path of least resistance thing, given the early use of the guitar.