Geometric patterns and the Guitar: A chordological shifting perspective

Transcription

1 Geometric patterns and the Guitar: A chordological shifting perspective Guitar chordology, no it is not a guitar related heart condition; actually, understanding this concept may help alleviate stressful conditions for guitarists.the idea is to study chords in a horizontal, shifting pattern, moving from left to right or right to left. For example, a triangular shaped chord shifted to the right or left becomes a different chord as opposed to moving vertically which creates a sharpened or flattened chord of the same kind. Shifting also refers to adding notes to a barred (horizontal) position to create a series of vertical but differently constructed chords. These concepts give rise to geometric patterns. We all know that music is synonymous with mathematics, so I am constantly trying to find ways to help my guitar students and buddies see the chemistry of chord construction and analysis from a shapely perspective. All right, I know what you are thinking. But imagine trying to understand chords from angles and shapes in other words from a mathematical perspective. Knowledge of chords and a bit of music theory will certainly help at this point. We can begin with the A major chord held on the second fret and whose notes E, A, C#, are held with individual fingers. Now hold these notes along with the F# note (1 st string 2 nd fret). The index finger is usually used to bar (from the French word barre) or clamp which is the act of using this finger to hold several notes together. Now we have four notes held in a straight/horizontal line to form the A6 chord (E, A, C#, F#). From this linear position we can form a series of right angle triangle chords. For example, from the barred position, we can hold the G note by extending the pinky finger which gives us the A7 chord. This now looks like a miniature right angle triangle; further extension of the pinky to the G# note gives us the A Major7 Chord. And extending the pinky to the A note creates the A Major Chord. So we have a group of chords (A7, A Major7, A Major), all formed using a right angle position. These basic diagrams illustrate the point of right angle triangle chords. A7 A Major7 A Major

2 By the same token, we can hold all the notes on the second fret in a barred position using the index finger. This would be F#, B, E, A, C#, F#. Now place the middle finger on the third fret, second string: the D note. This would give us the Bm7 add 11Chord. Moving the ring finger to the fourth fret would give us the B7 added 11Chord and reaching the E note with the pinky would give us the B7 sus 4 Chord. Keep in mind the right angle position to help remember the chords. Therefore, one can now easily find these types of chords by ascending/descending the fingerboard and holding the same positions. Bm7 added 11 B7 added 11 B7 sus 4 As a corollary to this we can look at triangular chords. The open D7 chord (D, A, C, F#) is definitely triangular in appearance. We can form a series of triangular 7 th chords by shifting horizontally. From D7, we can get A Major7, B7add11/E, F#11b9. D7 A Major7

3 Moving the D7 position unto the second, third and fourth strings would give us the A Major7 chord; shifting further to the left would create the B7 add 11/E Chord and moving even further would give us the F#11b9 Chord. Playing or not playing certain strings within a chord can lead to more complex chords, but that is another discussion. It seems that the triangular chords have the element of the seventh embedded in them. All strings are played to create the following chords: B7 add 11/E F#11b9

4 From the triangular D7 position we can easily form a diminished chord which looks a rhombus. C Diminished It s just a matter of placing an additional finger on the fourth string to form the diminished chord. We can easily notice the rhombus or diamond-shaped dimensions of the diminished chord. Now if we were to move the diminished chord position unto the second, third, fourth and fifth strings, we would automatically create a Minor7b5 Chord: In this case, the BbMinor7b5 is formed. BbMinor7b5

5 Shifting this chord further to the left would create the F7b5 chord as shown below. The first string is not played. F7b5 The continuum of ascending and descending will of course create different chord voicings. For example, moving this chord up a tone vertically would give us the G7 flat 5 chord. From this rhombus-shaped chord, it is easy to form the trapeziumshaped chords as indicated below. C7 Shifting to the left and further left would produce the following chords:

6 B Diminished Eb Minor 6 (Cm7b5) Please keep in mind that by adding a note to a chord or not playing certain notes creates a new chord. For example, adding the E note to the B Diminished chord creates the E7b9 chord. Moving from the four-note trapezium chord, we can form chords from a straight line (180 degrees).

7 The first three strings barred on the fifth fret for example, would give us the A Minor Chord; including the fourth string would give us the A Minor7Chord. When the fifth string is barred, the C6 add 9 is formed. When all six notes are barred by the index (full bar), the D11chord is formed. These chords and their variants are outlined in the following diagrams. A Minor AMinor7(C6)

8 C6 add9 (FMajor13) D11/A (FMajor13/A)

9 From straight line chords, we can form acute angle chords: Acute angles are less than 90 degrees. The Gmajor7, D Major7#5, A+ or A Augmented can be seen in the context of acute angle chords. GMajor7 D Major7#5

10 A Augmented After looking at acute angle chords, we may be tempted to ask about obtuse angled chords as illustrated in the following diagrams. Obtuse angles are greater than 90 degrees. G13

11 CMinor13 In conclusion, the idea of seeing chords in geometric patterns and angles and their horizontal and vertical shifts will lead, it is hoped to a more practical understanding of chord analysis. This shifting perspective also creates the opportunity to include or omit notes from any given geometric shape or angle thus the development of new chords based on a mathematical shape or angle. It is hoped that a shape or angle of a chord would lead to greater retention for many who need a more interactive (hands-on) approach to understanding chords. Furthermore, this article serves as a catalyst to open the lines of the creative process, so that guitarists will experiment with chordal shapes, their inversions and appendages to get a greater awareness of chord construction.

12