Introduction to Chord Theory & Chord Voicing for the Guitarist Volume One taught by John Miller

Transcription

1 Introduction to Chord Theory & Chord Voicing for the Guitarist Volume One taught by John Miller

2 INTRO TO CHORD THEORY AND CHORD VOICING FOR THE GUITARIST, VOLUME 1 I. THE MAJOR SCALE The best place to start in the the study of chord theory is the major scale, for it provides the foundation for chords. Using the C major scale as an example, we find it is structured: 1 1 q q C D E F G A B C The most important feature to note in the major scale is its stepwise construction, with whole steps between all of the notes with the exception of the third and fourth notes and the seventh and eighth notes, which are separated by half-steps. On the guitar, a whole step, or tone, separates notes that are two frets apart on the same string, while a half-step, or semitone, is the distance between two notes one fret apart on the same string. Since all major scales conform to the stepwise formula indicated above, you can construct a major scale starting on any note simply by applying the stepwise formula and remembering a few simple rules: All of the note letter names, A, B, C, D, E, F, and G must appear in a major scale in that order (while still allowing for starting the scale on different notes). The only lettered note that appears twice in the major scale is the letter that begins and ends the scale, as C does in the C major scale Note that natural half-steps occur between E and F and B and C. On the piano, those half-steps work out so that you have two consecutive white keys with no black key in between them. It just happens that these two natural half-steps coincide with where the half-steps fall in the major scale, when constructing a major scale off of C, but you will have to take those half-steps into consideration and make adjustments to achieve the proper stepwise formula when you construct major scales off of notes other than C. To raise a note one-half step you sharp ( ) it, with the sharp sign following the letter of the note being raised, as in C. To lower a note one-half step, you flat ( ) it, with the flat sign similarly following the letter of the note being flatted, as in B. In the course of constucting scales, you will notice that the same pitch, for example the note one half-step above C, may end up being named differently, depending on which scale you are constructing. Thus the note one-half step above C ends up being called a D flat when encountered in the A flat major scale, as opposed to C sharp when encountered in the D major scale. The two different spellings for the same pitch are referred to as enharmonic spellings of the same pitch, or alternate ways of naming the same pitch, depending on the context in which the pitch is found. You now have enough information to do some exercises on major scale construction. Let s get started! 2

3 1. Write down the notes in a D flat major scale, in order. 2. Write down the notes in an E major scale, in order. 3. Write down the notes in an F major scale, in order. 4. The seventh note in the B major scale is. 5. The third note in the E flat major scale is. 6. The fourth note in the B flat major scale is. 7. Re-name the note F sharp, using an enharmonic spelling. 8. Re-name the note E sharp, using an enharmonic spelling. 3

4 II. INTERVALS An interval is the musical distance between two notes. Once again, referencing the structure of the major scale provides a helpful context in which to begin to understand the defining characteristics of the different intervals. 1 1 q q C D E F G A B C If you look at the distance from C to D in the C major scale, that distance, one whole step, is a major second. Likewise, the distance from C to E, two whole steps, is a major third; the distance from C to A, four-and-a-half steps, is a major sixth; and the distance from C to B, one half-step down from the upper C in the scale, is a major seventh. Any major interval in which the pitch of the upper note is lowered by one half-step produces a minor interval of the same type. Thus, if C-E is a major third, C-E flat is a minor third. Similarly, C-D flat is a minor second, C-A flat is a minor sixth and C-B flat is a minor seventh. Additionally, a minor seventh in which the seventh is lowered an additional half-step produces a diminished seventh, which in the context we have set up would work out to be B flat flat, or B double flat. If we look now at the distance from the C at which the scale starts to F, that interval, two-and-a half steps, is termed a perfect fourth. Similarly, the distance from C to G, three-and-a-half steps, is termed a perfect fifth. Other perfect intervals are the unison, which is two notes of the same pitch, and the octave, which is the distance from the C that starts the scale to the C at the end of the scale. Any perfect interval in which the pitch of the second note is lowered by one half-step is said to be diminished; thus C-G flat is a diminished fifth. Any perfect interval in which the pitch of the second note is raised one half-step is said to be augmented; thus C-F sharp is an augmented fourth. Unisons, fourths, fifths and octaves are never spoken of as major or minor. Rather they are described as perfect, diminished or augmented. In common usage, the term flat five is synonomous with diminished fifth as is the term sharp five with the augmented fifth. The way that intervals are named presumes that each interval has a different letter name relative to the letter name of the note that is serving as the frame of reference. For example, the second of C, whether major or minor, must always be a D of some type, the third of C must be an E of some type, the fourth of C must be an F of some type and so on. Thus, even though G sharp and A flat describe the same pitch, only A flat may be said to be a minor sixth above C, because no G of any type can ever be a sixth above C. Lest this seem like pointless hair-splitting, it really is not, because the different intervals function differently and mis-spellings of notes and chords cloud meaning in a way that can cause confusion and misinterpretations of musical intent. As usual, it is best to get in the habit of doing things right at the outset, if possible. Let s do some interval exercises to develop fluency with figuring out and naming the various interval types. 4

5 1. The note an augmented fourth above B flat is 2. The note a minor sixth above D is 3. The note an augmented fifth above A is 4. The note a minor second above B is 5. G is a major sixth above 6. F sharp is a minor third above 7. C is a minor seventh above 8. E flat is a perfect fifth above 5

6 III. TRIAD STRUCTURE AND DIATONIC TRIADS Triads are three-note chords consisting of a root and the root s third and fifth. In a way, triads can be seen as the result of stacking two thirds on top of each other, root to third and third to fifth. In describing the structure of triads, however, one speaks of the intervals from the root to the third and the root to the fifth, always using the root as the frame of reference for describing intervallic distances. TRIAD STRUCTURE TABLE Type Major Minor Diminished Augmented Structure major 3rd, perfect 5th minor 3rd, perfect 5th minor 3rd, diminished 5th major 3rd, augmented 5th If we can re-cap briefly the presentation on the DVD pertaining to the major scale and its diatonic triads, the diatonic triads are the triads formed off of each successive note of the major scale, using only the notes of the scale (diatonic means using only the notes of the scale). Thus, the diatonic triads formed off of the various different notes of the C major scale are as follows: The I triad is C-E-G, a major triad The II triad is D-F-A, a minor triad The III triad is E-G-B, a minor triad The IV triad is F-A-C, a major triad The V triad is G-B-D, a major triad The VI triad is A-C-E, a minor triad The VII triad is B-D-F, a diminished triad Because all major scales are structurally identical, the diatonic triads will always conform to the triad types for each place in the scale as demonstrated in the C major scale. In the diagram below, the diatonic triad types are indicated numerically below each successive note of the scale. A Roman numeral indicates a major triad, a lower case numeral indicates a minor triad, and a lower case numeral followed by a small circle indicates a diminished triad. 6

7 1 1 q q C D E F G A B C I ii iii IV V vi vii Using the information from the triad structure table and the discussion of the diatonic triads, complete the following exercises. 1. What notes combine to form a D major triad? a D minor triad? a D diminished triad? a Daugmented triad? 2. If you are in the key of F major, what note will be the third of the ii minor triad? 3. An F minor triad would be the ii minor triad in what key? In what key would the F minor triad be the iii minor triad? In what key would the F minor triad be the vi minor triad? 4. The C diminished triad could only be diatonic in what major key? 5. As you walk up a major scale, playing the ascending diatonic triads, you come to a place in the scale where you play an E major triad followed by an F major triad. What key are you playing in? 6. True or false: Any major triad can be converted to a diminished triad simply by raising the root one half-step. 7. The major key that includes among its diatonic triads an A flat major triad, an E flat major triad and a B flat major triad is 8. The third of an F minor triad is. 7

8 IV. SEVENTH CHORD TYPES AND THE DIATONIC SEVENTH CHORDS Seventh chords consist of a root and its third, fifth and seventh. The addition of the seventh to the triad allows for expression of more complex and highly colored sonorities. The table below outlines the structural composition of the various seventh chord types. Type SEVENTH CHORD STRUCTURE TABLE Structure Chart Designation Major major 3rd, perfect 5th, major 7th, Maj7 major 3rd, Dominant perfect 5th, 7 minor 7th Minor Minor 7 5 (Half-diminished) minor 3rd, perfect 5th, minor 7th minor 3rd, diminished 5th, minor 7th m7 Diminished minor 3rd, diminished 5th, 7 diminished 7th Ÿ7, m7 5 Minor/Major minor 3rd, perfect 5th, m( 7) major 7th 7 5 major 3rd, diminished 5th, 7 5 minor 7th 7 5 major 3rd, augmented 5th, minor 7th 7 5, 7+ In addition to noting the structure of the different seventh chord types listed in the table, notice also the symbols that are used to communicate the various seventh chord types in a chord chart or lead sheet. It is important to become conversant with these symbols as they are a short-hand way of designating the chords that has widespread usage. The formal names of the chords are seldom written out in full. 8

9 Just as the diatonic triads were formed by figuring out the root, third and fifth of each successive triad as you ascended the major scale, so can you figure out the diatonic seventh chords. Simply add the appropriate seventh for each diatonic triad as you ascend the scale. For the C major scale, the diatonic seventh chords would be as follows: Starting on C, you have C-E-G-B, a major seventh chord Starting on D, you have D-F-A-C, a minor seventh chord Starting on E, you have E-G-B-D, a minor seventh chord Starting on F, you have F-A-C-E, a major seventh chord Starting on G, you have G-B-D-F, a dominant seventh chord Starting on A, you have A-C-E-G, a minor seventh chord Starting on B, you have B-D-F-A, a minor seven flat five chord Let s place these various diatonic seventh chords in the appropriate places in the scale, below the diatonic triads. Here goes: 1 1 q q C D E F G A B C I ii iii IV V vi vii m7 m7 7 m7 m7 5 Using the information from the unit on intervals, the table of seventh chord structures and the discussion of the diatonic seventh chords, complete the following exercise. 1. The note falling a major seventh above A is 2. Name the root, third, fifth and seventh of a B diminished seventh chord 3. A popular song begins with the following progression: Fm7 B m7 E 7 A D. Assuming all of these chords are diatonic, what major key is suggested by the progression? 4. Fm7 is the iii m7 chord in what major key? 5. Name the root, third, fifth and seventh in an Fº7 chord, using the functionally correct names for each note. Re-name the notes as necessary, substituting enharmonic spellings to make it more user friendly. 6. Name the root, third, fifth and seventh in an E minor/major seventh chord 7. Name the root, third, fifth and seventh in an F7 5 chord 8. A diatonic B7 chord would occur in what major key? 9

10 V. VOICING TRIADS AND SEVENTH CHORDS OUT OF THE D POSITION You are now ready to use the information you ve been learning to figure out how to voice the various triads and seventh chord types out of the D position. Look at the diagram below. F A D A D F D Major Triad 3 5 R 5 R 3 It shows a simple grid pattern in which the six vertical lines represent the six strings of the guitar, in standard tuning, with the low E string (sixth string) to the left, and the high E (first string) to the right. The horizontal lines represent the frets, with the top horizontal line representing the nut of the guitar, the next lower horizontal line the first fret, and so on. A D chord at the base of the neck has been diagrammed on the grid. The pitch of each note of the D chord is indicated above the string, and below each string, there is an indication of which voice of the D triad is voiced on that string, with R standing for root, 3 standing for the major third and 5 standing for the perfect fifth. For our purposes at this time, we will concern ourselves only with voicing the first four strings out of the D position, and we can see that this portion of the shape is voiced root-perfect fifth-root-major third, moving from the fourth string to the third, second and first strings. We are now ready to begin diagramming the different triad types out of the D position on the first four strings. Because you will be diagramming the seventh chord types yourself, we will use the triads as an opportunity to show you how to work with the D position in the grid to voice chords of different types. We already have a major triad diagrammed out of the D position, voiced R-5-R-3. How do we need to alter the chord shape to obtain a minor triad shape? Well, the only structural difference between the major triad and the minor triad is in the third, which must change to a minor third for the minor triad; the root and perfect fifth will remain the same. Where is the minor third located relative to the major third? One half-step lower. Observe the diagrammed minor triad out of the D shape, and note how the voice designations below the different strings have been altered to describe the different structure of the minor triad. D Minor Triad x x R 5 R m3 10

11 Let s move on to the diminished triad out of the D position. How does it differ structurally from the minor triad? They have the root and minor third in common, but the minor triad has a perfect fifth, while the diminished triad has a diminished fifth. Where does a diminished fifth lie relative to a perfect fifth? One half-step lower, so it is necessary to lower the third string, where the perfect fifth has been voiced, by one half-step, resulting in the following shape. D Diminished Triad x x R 5 R m3 Note how the strings are designated according to voice under the diminished triad grid: R- 5-R-m3. Let s go on to the augmented triad. If we go back to our starting point, the major triad as voiced out of the D position, what structural change must be made to diagram the augmented triad? Well, the major and augmented triads both have a root and major third, but the major triad has a perfect fifth, while the augmented triad has an augmented fifth. Where does an augmented fifth lie relative to a perfect fifth? One half-step higher. Observe how that change is achieved in the diagrammed augmented triad out of the D position shown below. D Augmented Triad x x R 5 R 3 Okay, we ve now voiced the triads out of the D position. It s important to recognize that all of these shapes are potentially moveable. All you need to do to make them moveable is finger them in such a way as to free up your index finger, and use your index finger to walk up the fourth string, where the root of the D shape is located, as you move the shapes up the neck. And if you memorize these shapes, you can reference all the potential places to utilize those shapes simply by knowing the pitches of the different frets on the fourth string, where the root is voiced. An example is in order: Here is an E major triad voiced out of the D position. Because E is one whole step higher than D (a major second), it is necessary to move the chord shape up two frets from the base of the neck. 11

12 E Major Triad, D Position x x R 5 R 3 All right, now we are ready to move on to diagramming the seventh chords out of the D shape. In order to wind up with moveable seventh chord shapes diagrammed, rather than ones that utilize an open fourth string, let s change our frame of reference to the second fret of the fourth string and use the E major triad out of the D shape that was just diagrammed as our starting point for diagramming the seventh chords. E Major Triad, D Position x x R 5 R 3 Okay, let s voice a major seventh chord out of the D shape, at E. What is the structural definition of a major seventh chord? Root, major third, perfect fifth, and major seventh. As we look at the grid of the E major triad out of the D shape, we can see that we have every voice needed for the major seventh chord, with the exception of the major seventh note itself. Where does a major seventh note lie, relative to the root? One half-step below it. We have two roots voiced in the E major triad, one on the fourth string, and one on the second string. Let s leave the root on the fourth string as is, so that the chord remains in root position with the lowest voice being the root. So, to get our major seven note, we need to lower the root on the second string by one half-step, giving us the major seventh shape out of the D position. E, D Position x x R Note how the voices beneath each of the first four strings have been altered to reflect the structure of the major seventh chord: R

13 You are now ready to diagram the remaining seventh chord types listed in your seventh chord table out of the D position. In every instance, leave the root on the fourth string unaltered. We provide it for each of the chord diagrams as a starting point. Voice the major or minor third, as appropriate, on the first string, the major, minor or diminished seventh on the second string, and the perfect, diminished or augmented fifth on the third string. After diagramming the shape for each chord, list the voice for each string, as we ve done above. Major seven and third notes can simply be described 7 and 3, minor seven and third notes, m7 and m3, a diminished seven note, º7, perfect fifths, diminished fifths and augmented fifths, 5, 5 and 5, respectively. E7, D Position Em7, D Position Em7 5, D Position Eº7, D Position x x R x x R x x R x x R Em, D Position E7 5, D Position E7 5, D Position x x R x x R x x R Okay, you ve diagrammed all the seventh chords out of the D position now. Take a moment to complete the brief exercise on seventh chords out of the D position. 1. In an A major seventh chord played out of the D position, the first, second and third strings will all be fretted at the the fret. 2. An F m7 5 chord played out of the D position will be rooted at the 4th fret of the string 3. In a B diminished7 chord played out of the D position, the fourth and second strings will be fretted at the fret and the third and first strings will be fretted at the fret. 4. In a 7 5 chord voiced out of the D position, the 5 will be voiced on the string, frets higher than the root, which is voiced on the fourth string. 13

14 VI. VOICING TRIADS AND SEVENTH CHORDS OUT OF THE A POSITION Now that we ve established an approach for voicing chord shapes and indicating on which strings the different voices of the chord fall for the different chord types, we can move a bit faster. Look at the diagram below of an A chord played at the base of the neck. E A E A C E A Major Triad 5 R 5 R 3 5 Note the pitch of the notes on each string and how the chord is voiced, from the sixth string ascending to the first string, 5-R-5-R-3-5. For our purposes, we will concern ourselves only with the interior four strings, the fifth through second strings, which are voiced R-5-R-3, just like a D position, but moved over one string towards the bass. Let s convert the A major triad diagram out of the A position to a moveable shape, by moving the position intact up three frets to C. We can voice all of the triads and seventh chords out of the A position using this frame of reference and figure out the triads and seventh chords as moveable shapes, working in that fashion. As a starting point, here is a diagram of a C major triad out of the A position with the voices indicated below each string. C Major Triad, A Position x R 5 R 3 x Using your triad structure table, complete the chord diagrams for the C minor, C dimished and C augmented triads out of the A shape, and label where the voices fall on the strings for each chord. We ll provide the root at the third fret of the fifth string as a starting point. 14

15 C Minor Triad, A Position C Diminished Triad, A Position C Augmented Triad, A Position x R x x R x x R x Now you are ready to diagram the seventh chords at C, out of the A position. Once again, we will give you the major seventh chord diagram as an example to start you on your way. I don t think any further discussion is necessary at this point. C, A Position x R x As always, you can see the voices indicated under each of the interior four strings for the major seventh chord out of the A position. Observe this protocol as you diagram the remaining seventh chord types out of the A position at C. We will provide the root at the third fret of the fifth string as a starting point. C7, A Position Cm7, A Position Cm7 5, A Position Cº7, A Position x R x x R x x R x x R x 15

16 Cm, A Position C7 5, A Position Cm7 5, A Position x R x x R x x R x Play through the various A position seventh chord shapes you have diagrammed. Note that for the diminished 7 shape, it is necessary to use the second (middle) finger to fret the root on the fifth string, unlike all of the other seventh chord type shapes, for which the index finger is used to fret the root on the fifth string. Let s do a brief exercise on the voicing of triads and seventh chords out of the A position. 1. For an E m7 5 chord out of the A position, the fifth and third strings will be fretted at the fret and the fourth and second strings will be fretted at the fret. 2. An F chord played out of the A postion is rooted at the fret of the fifth string. 3. In a B º7 played out of the A position, the string will be open 4. True or False? A major seventh chord shape out of the A position is like a dominant seventh chord shape out of the D position, moved one string towards the bass. 16

17 VII. VOICING TRIADS AND SEVENTH CHORDS OUT OF THE E POSITION Moving right along, let s see how the E position is voiced at the base of the neck of the guitar. E B E G B E E Major Triad R 5 R 3 5 R In looking at how the E position is voiced, R-5-R-3-5-R, you should note that on the bottom four strings, the position is voiced R-5-R-3, as are the A and D positions. It is useful to think of the E, A and D positions as comprising a voicing family, the R-5-R-3 family. Chord voicing strategies are going to be the same for each of the positions in that family. Using the same approach that we used for voicing the minor, diminished and augmented triads out of the A and D positions, diagram those triad types for the E position on the bottom four strings, moved up to the third fret, at G. We will provide the root on the sixth string as a starting point. G Minor Triad, E Position G Diminished Triad, E Position G Augmented Triad, E Position R x x R x x R x x Now we re ready to start voicing seventh chords out of the E position. We will use a slightly different approach than we did for the A and D positions, where we voiced the chord shapes on four consecutive strings, the interior four for the A position and the top four for the D position. It is possible to voice seventh chords out of the E position on the bottom four strings of the guitar, but the resulting sonorities are a bit bass-heavy, murky, and not particularly flattering to the instrument. An alternative way of voicing seventh chords out of the E position was conceived by some unknown brilliant problem solver at some point in the past. This person noted that in the E position, if you look at all six strings of the guitar, there are fifths voiced on both the fifth and second strings. An idea was hatched whereby instead of voicing seventh chords out of the E position on the bottom four strings, the sixth, fourth, third and second strings would be used, with the fifth string going unfretted and unplayed, along with the first string. Observe the re-configured E position depicted below and how it is voiced. 17

18 G Major Triad, Re-configured E Position R x R 3 5 x By switching to the re-configured E position, we wind up with a starting point for voicing seventh chords in which the major triad is voiced R-R-3-5. Working from that re-configured E position, let s see how the major seventh chord would be voiced out of the E position at G. G, E Position R x x Using that major seventh shape as a starting point, diagram the 7, m7, m7 5, º7, m 7, 7 5 and 7 5 chords out of the E position, labelling the voices on each string as you go. We will provide the starting root on the sixth string, third fret, G, and remember that you are voicing the chords on the sixth, fourth, third and second strings. G7, E Position Gm7, E Position Gm7 5, E Position Gº7, E Position R x x R x x R x x R x x Gm, E Position G7 5, E Position Gm7 5, E Position R x x R x x R x x 18

19 Once you have diagrammed all of the seventh chord shapes out of the E position, play them. Note the clean, transparent sound of the voicings, much preferable to the muddy sound of voicing on the bottom four strings. Note, too, that this approach to voicing seventh chords out of the E position eliminates the need for any barres all the way across the neck, and while these seventh chord shapes deriving from the re-configured E position may presently be unfamiliar, in the long run they are far less fatiguing than are positions that require full barres. Fingering of the seventh chords out of the E position is more complicated than is fingering seventh chords out of the A and D positions, for in the E position you may have to change the finger you are using to fret the root on the sixth string, depending on which chord type you wish to play. The following seventh chord types work best with the index finger fretting the root on the sixth string: Major 7, minor/major 7, 7, 7 5. The remaining seventh chord types work best with the second (middle) finger fretting the root on the sixth string: Minor 7, 7 5, m7 5 and º7. For the m7 chord, use the third (ring) finger for the partial barre of the second, third and fourth strings. Whichever finger you end up using to fret the sixth string root in the E position seventh chords, that same finger must serve double duty, by making a light incidental contact with the fifth string and muting it (NOT fretting it), so that it is possible to strum right across the fifth string without sounding it. Let s do a brief exercise on voicing seventh chords out of the E position. 1. The diminished fifth in a Bm7 5 chord voiced out of the position is fretted at the fret of the string. 2. In an F º7 chord out of the E position, the sixth and third strings are fretted at the fret and the fourth and second strings are fretted at the fret. 3. The major third in an A7 chord voiced out of the E position is located at the fret of the string. If you lower it one half-step while keeping all of the other voices the same, you get an A seventh chord. 4. The 5 in a C7 5 chord voiced out of the E position is located at the fret of the string. 19

20 VIII. THE G, C, AND F POSITIONS We dealt with the D, A and E positions one at a time. Let s opt for a more global approach to dealing with the G, C and F positions. Look at the positions diagrammed below, as they are fingered at the base of the neck. G Major Triad, G Position G B D G B G C Major Triad, C Position G C E G C E F Major Triad, F Position C F A C F R 3 5 R 3 R 5 R 3 5 R 3 x 5 R 3 5 R As we look at how these three positions are voiced, note that the G position is voiced R-3-5-R starting on the sixth string and moving up to the third string, the C position is voiced R-3-5-R starting at the fifth string and moving up to the second string, and the F position is voiced R-3-5-R starting on the fourth string and moving up to the first string. Thus we can see that just as the E, A and D positions formed the R-5-R-3 family, with the lowest roots in those positions voiced on the open sixth, fifth, and fourth strings, respectively, the G, C, and F positions form the R-3-5-R family, with the lowest roots in these positions voiced at the third frets of the sixth, fifth and fourth strings, respectively. There is order in the universe! I have made an editorial decision not to concern ourselves with the G position for this introductory course, so let s take a look at the C position. Looking only at the voices that fall on the interior four strings, we find a C major triad voiced R-3-5-R. You don t have to examine matters in great depth before determining that fingering a C minor triad out of the C position by lowering the major third on the fourth string results in a shape that is very difficult to finger and quite awkward. The C diminished triad, voiced as a moveable shape out of the C position, is even worse, to the point of real impracticability. The C augmented triad, shown below, is not nearly so problematic. C Augmented Triad, C Position R 3 5 R 20

21 Fortunately, it is not essential that you become adept at fingering the minor and diminished triads out of the C position, because in the A position, rooted like the C position on the fifth string, these positions are relatively easy to play. Just for the practice of it, diagram the minor, diminished and augmented triads out of the C position below, bearing in mind that we have moved the position up two frets, to D on the fifth string, so that moveable shapes result. We ll provide the root and you provide the other voices. D Minor Triad, C Position D Diminished Triad, C Position D Augmented Triad, C Position x R x x R x x R x We will be adopting a different approach for voicing seventh chords out of the C position than we used for the E, A, and D positions. In the C shape, it ends up being impractical to voice all the seventh chords by lowering the upper root to get sevenths. Adopting this approach soon ends up with a left hand stretched to a very uncomfortable degree. So it is that in the C shape we will voice our seventh notes on the third string, raising the fifth that starts out there to get the various sevenths the different seventh chord structrures require. Giving up the fifth is not a serious problem for the seventh chord types that employ a perfect fifth. For those chords, the major 7, 7, minor/major 7 and the minor 7, sacrificing the perfect fifth is not too injurious, and you can end up with chords voiced on the interior four strings, R-3-7-R. What of the chords that include altered fifths in their structure? If you want to add fifths, either perfect, diminished or augmented, to 7th chords voiced out of the C position, here is a way to think about it. The perfect fifth of C is G, and at the bass of the neck you have the open G string in the C shape. You also, though, have easily accessible G notes at the third fret of the sixth and first strings. What some players working out of the C position choose to do is to voice the fifth of the chords on the sixth string, leave the fifth string unplayed and damped, voice the third of the chord on the fourth string, the seventh of the chord on the third string, and the root of the chord on top, on the second string. Let s look at how a major seventh chord would be voiced out of the C shape, at D, so we end up with a moveable shape. Note that both the fifth on the sixth string and root on the fifth string are indicated as being voiced; in practice, you can choose to voice one or the other. 21

22 D, C Position 5 R 3 7 R x You may wonder at the basis of how the location of the major seven note on the third string was determined. In the major scale there are two whole steps from the V note to the major seven note; hence the major seven note is four frets higher than the perfect fifth would be. I believe this voicing to be under-utilized by guitarists. It has a very distinctive sound, voicing the major seventh and upper root on adjacent strings when they are only a minor second apart from each other in pitch. That close interval almost gives the chord a humming sort of tone. I think the chord does sound better with the fifth in the bass than with the root in the bass. Working from the model of the major seventh chord voicing, use the blank grids below to voice the 7, m7, m7 5, º7, m (minor/major 7), 7 5 and 7 5 chords out of the C position at D. We will spot you the root at the fifth fret of the fifth string to get you started. For the m7 5, º7, 7 5 and 7 5 chords, voice the fifth of the chord as the lowest voice, on the sixth string. D7, C Position Dm7, C Position Dm7 5, C Position Dº7, C Position R x R x R x R x Dm, C Position D7 5, C Position D7 5, C Position R x R x R x 22

23 A couple of notes about the fingering of these chords: All of the voicings in which the third is minor require a partial barre with the index finger, which ends up fretting the third of the chord on the fourth string and the root of the chord on the second string. The sound of the 7 5 chord voiced with the 5 as the lowest voice in the chord, on the sixth string, is not ideal. You may find it preferable for that chord to voice the 5 on the first string, or voice the chord out of the A shape, where you can get all the voices you want in root position. the m7 5 chord voiced out of the C position with its diminished fifth in the bass is a particular beauty, very dark, and it resolves beautifully to the dominant seventh chord out of the E shape rooted one half-step lower than the diminished 5 note in its bass. Let s move on to the F position. The first point that should be made is that the F position is not simply an upper partial of the E shape; when you look how it operates on the top five strings of the guitar, it is a separate shape in its own right. You voice triads and seventh chords out of the F position just as you did out of the C position. We have moved the diagram for the F major triad out of the F position up two frets to G. Use the blank grids following the grid with the major triad to voice the minor, diminished and augmented triads out of the F position at G. We provide the root on the fourth string in every instance. G Major Triad, F Position x x R 3 5 R G Minor Triad, F Position G Diminished Triad, F Position G Augmented Triad, F Position x x R x x R x x R Look now at how the major seventh chord position is voiced out of the F shape at G. Just as with the C position, you raise the interior fifth to get the seventh, and have the option of re-voicing the fifth at the same fret as the lower root, on the fifth string. 23

24 3fr. G, F Position x 5 R 3 7 R Use the blank grids below to voice the 7, m7, m7 5, º7, m, 7 5 and 7 5 chords out of the F position at G. In every instance, indicate the location of the appropriate fifth on the fifth string. For the m7 5, º7, 7 5 and 7 5 chords, voice the fifth of the chord as the lowest voice, on the fifth string. G7, F Position Gm7, F Position Gm7 5, F Position Gº7, F Position 3fr. 3fr. 3fr. 3fr. x R x R x R x R Gm, F Position G7 5, F Position G7 5, F Position 3fr. 3fr. 3fr. x R x R x R Some notes on fingering for the seventh chords out of the F position: The major seventh chord voicing makes for quite a stretch by the little finger of the left hand. You may prefer to voice the chord out of the D shape, or voice it out of the F position, but R on the top four strings. The m7 5 voicing can be done on either the interior four strings, 5-R-m3-m7, or on the fifth, third, second and first strings, 5-m3-m7-R. The 7 5 chord is even more problematic out of the F shape than it is in the C shape. It is difficult to finger and ambiguous sounding, painting you into corners with regard to how you resolve it, too. You are probably better off voicing the chord out of the D shape, where you can get all the necessary voices in root position. 24

25 Let s do an exercise on the seventh chords voiced out of the C and F positions. 1. In an Eº7 chord voiced out of the C position, the dimished fifth is voiced on the string at the fret. 2. The minor third of an Am7 chord, voiced out of the F position, can be found on the fret of the string. 3. The lowest root of an E chord voiced out of the C position can be found at the fret of the string. 4. In voicing seventh chords out of the F position, the seventh will be voiced on the string and fingered by the finger in the left hand. 25

26 IX. CONCLUSION CHORD THEORY AND CHORD VOICING FOR THE GUITARIST, VOLUME 1 Congratulations! If you have made it to this point, completing all the exercises and diagramming all the chord shapes, you have covered a tremendous amount of material that will enable you to play chords out of a variety of shapes and with different sound characteristics up and down the neck of your guitar. Volume 2 of this series will get you using the chord positions you have learned in Volume 1 in various different songs, and seeing how to achieve the most fluid, efficient and musical resolutions as you move from one chord to the next, up and down the neck. We are including an answer key for the exercises at the conclusion of this.pdf, but not for the chord diagrams you have to do those yourself to get them. Best of luck with your music as you move forward on the guitar! All best, John M. Miller 26

27 X. ANSWER KEY, VOLUME 1 I. The Major Scale 1. D -E -F-G -A -B -C-D 2. E-F -G -A-B-C -D -E 3. F-G-A-B -C-D-E-F 4. A 5. G 6. E 7. G 8. F II. Intervals 1. E 2. B 3. E 4. C 5. B 6. D 7. D 8. A III. Triads and Diatonic Triads 1. D-F -A, D-F-A, D-F-A, D-F -A 2. B 3. E major, D major, A major 4. D major 5. B major 6. True 7. E major 8. A V. The D Position 1. 8th 2. 4th 3. 8th, 9th 4. 3rd, 3 VI. The A Position 1. 6th, 7th 2. 8th 3. 3rd 4. True VII. The E Position 1. 6th, 2nd 2. 2nd, 1st 3. 6th, 3rd, minor 4. 9th, second VIII. The C and F Positions 1. 6th, 6th 2. 5th, 3rd 3. 6th, 5th 4. 2nd, little finger IV. Seventh Chords and Diatonic Seventh Chords 1. G 2. B-D-F-A 3. A major 4. D major 5. F-A -C -E, F-A -B-D 6. E -G -B D 7. F-A-C -E 8. E major 27