Alternating Bass and Chords Guitar Lesson

Chapter 1: (15:56) Learning New Chords Welcome back to the Phase 1 guitar series taught by Jim Deeming!

Review / Check-up

-Thus far, Jim has explained how to play each of the chords in the CAGED system. At this point in the series, you should feel very comfortable with each of these chords. You should also be fairly comfortable with the chord change exercises presented in the previous lesson. These exercises feature I, IV, V progressions played in the keys of G, D, and A major. Continue to practice these progressions with a metronome to ensure that the chord changes are played smoothly and in time.

-When strumming a chord, always remember to strum from the appropriate root note. Do not let your right hand get sloppy when practicing difficult chord changes.

-In the previous lesson, Jim also explained how the primary chords relate to one another within a key. This information is extremely important! If you are confused by the I, IV, and V chords and how they are used, be sure to write in for extra help.

-Jim has stressed the importance of rhythm throughout the series. The best way to improve your rhythmic skills is through constant practice with a metronome. Tap your foot along with the beat. To further internalize the pulse, count the rhythm out loud.

-Jim has demonstrated how to separate the root note from the rest of the notes in a chord when performing an accompaniment pattern. This technique was applied to accompaniment patterns in 4/4 and 3/4 time. These basic accompaniment patterns will be used as a basis for the alternating bass pattern presented in the current lesson.

Current Lesson Objectives

-Extend the vocabulary of chords beyond the CAGED system. These new chords remain within first position.

-Apply an alternating bass line to I, IV, V progressions in the CAGED system.

F Major Chord

Most beginners struggle with this chord. As a result, you will probably need to devote more practice time to F major in order to perfect it.

The F chord features four fretted notes. No open strings are played. The fifth and sixth strings are omitted when playing the F major chord.

As you first attempt to play the F chord, do not concern yourself with the note played on the first string. Focus all of your attention on the three notes located on the fourth, third, and second strings. Once you have mastered this abbreviated version of the chord, you are ready to tackle the four string barre chord version.

A barre occurs when a single finger frets two or more adjacent strings. In the case of F major, the index finger frets both the first and second strings at the 1st fret. You must straighten the tip joint of the index finger in order to perform this barre. Also, the first finger must remain perpendicular to the fretboard.

Additional F Chord Tips

Note: The following information is taken from lesson 2 of Matt Brown's Phase 2 Rock series. Refer to this lesson for additional help with the F chord.

When first learning this chord, place your third fingers on the fretboard before the barre. Keep your fingers as close to the fret wire as possible. Then, without moving your second and third fingers, place the barre down. Keep your first finger parallel to the first fret. Do not angle it. Make sure that the fleshy pad of the first finger is fretting these two notes rather than the side of the finger. When you place the first finger down, your second and third fingers should not move at all.

Also, you must follow proper classical technique guidelines. Keep your fingers bent and relaxed at all times. Do not flatten any joints except the tip joint of the index finger. Even though the thumb is not used to actually fret a string, it is the most important factor when fingering the F chord. Keep the thumb perpendicular to the middle of the neck. Do not angle it sideways or bring it up over the top of the neck.

The problems that arise when playing the F chord are a result of a lack of flexibility and finger independence. Thus, you must enhance your abilities in these two specific areas in order to master the basic F chord. There are several technical exercises that help immensely with this process.

In order to increase your reach development, work on the finger stretch exercise that Dennis Hodges demonstrates in his first Phase 2 Metal lesson. This exercise will provide you with the left hand reach necessary to play the pesky F major chord.

Converting E Major into an F Barre Chord

Jim demonstrates how the E major chord can be converted into a movable barre chord at 06:18 in the lesson video. The fingering utilized for the fretted notes must be changed. The third finger now frets the note played on the fifth string. The pinkie finger plays the E root note on the fourth string. G#, the note played on the third string, is now fretted by the second finger.

Next, slide each of these fretted notes up one fret. Finally, the first finger must barre the strings that were once played open. This barre is performed at the first fret. In order to barre the sixth, second, and first strings, the first finger must barre all six strings. In a sense, the first fret has now become the nut within a six string F barre chord.

This barre chord shape can be transposed anywhere on the fretboard. For example, when this chord shape is played in third position, it becomes a G major barre chord. Jim demonstrates this concept at 10:35 in the lesson video. The lowest root note within this chord shape is located on the sixth string. By memorizing the names of the notes along the low sixth string, you can play any major chord in the musical alphabet.

Note: Open the "Supplemental Content" tab for a list of the notes on the sixth string and their corresponding fretboard location. Begin this learning process with the natural notes (notes that are not written with a sharp or flat).

Full F Major Barre Problems

Most beginning students encounter the same two problems when learning this chord. The first problem is an issue of finger reach. This problem can be solved by practicing the finger stretch exercise demonstrated in Dennis Hodges' first Phase 2 Metal lesson. Second, most students have problems getting the first and second strings to ring clearly. They have issues with performing a full or "grand" barre across all six strings.

When playing the F chord with a full barre, a few technical issues must be addressed. Similar to the basic F chord, the thumb has by far the most important job when playing an F chord with a full barre. It provides the leverage necessary to fretting the chord. Once again, make sure that the thumb is perpendicular to the middle of the neck.

When you first start to work on this barre chord, place the second, third, and fourth fingers on the fretboard prior to laying the barre down with the index finger. Make sure that these fingers do not move at all from their current position while applying the barre with the index finger.

Although the index finger must cover all six strings with the barre, it is not actually used to fret the notes on the fifth, fourth, and third strings. Instead, playing this barre properly requires that the index finger applies the most pressure at two specific points. Since this finger is really only used to fret the sixth, second, and first strings, it must apply the most pressure at these two points on the fretboard. Keeping the first finger as close to the fretwire as possible will help accomplish this task. When you feel like you have your fingers (including the thumb) positioned correctly, pick each string individually to ensure that they all ring properly with a clear tone.

If you are experiencing difficulties with this chord shape, practice it higher on the fretboard. This chord shape is easiest to play around the 5th through 7th frets. Your fingers do not have to stretch as far since the frets are smaller. Also, you do not have to depress the strings at such a steep angle as you move farther away from the nut. Once you feel comfortable with a B major barre chord played in seventh position, gradually slide the shape backwards. Continue to perfect the barre chord in each position until you reach the dreaded first position F barre chord. Working through this process will enable you to perfect this chord in the most efficient manner.

Practicing Barre Chords

Mastering new chords, especially barre chords, can be a very difficult and frustrating process. When learning any new chord, practice it in very short intervals. Due to the frustrating nature of learning new chords, your focus will dwindle very quickly. Practice a new chord for five or ten minute intervals at a time. Then, practice something totally different for a while that is less frustrating for you. Block the tricky chord out of your mind while doing so. When you return to the troublesome chord, you will hopefully have a fresh new perspective and a clear state of mind.

Chord Change Exercises

Once you have mastered each version of the F chord, begin to practice switching to and from this chord with the chords that you have already learned. Strum in a steady rhythm along with a metronome. Strive for seamless rhythm and left hand transitions.

The shape of the C chord is very similar to the F chord. Consequently, these two chords are a logical beginning step to this process. This chord changes happens very frequently in the key of C major. The fingering for G major is relatively similar as well. All three of these chords feature the third and second fingers held in a similar configuration. Once you have mastered these changes, try some of the more awkward changes such as D to F.

Minimum left hand movement is key when performing chord changes. Keep all left hand fingers as close to the fretboard at all times. Do not curl any fingers underneath the fretboard.

I, IV, and V Chords in C Major

Respectively, the I, IV, and V chords in this key are C, F, and G. Remember that the I, IV, and V chords are derived from the first, fourth, and fifth scale degrees of the major scale with the same letter name as the key. The C major scale is spelled C, D, E, F, G, A, B, C. The first, fourth, and fifth scale degrees are C, F, and G. Consequently, the I, IV, and V chords are C, F, and G major. Chapter 2: (07:23) B Chord, Transitions and More B Dominant Seventh (B7)

In the previous scene, Jim explained how the F barre chord is based on the basic visual shape of the E major chord. This time around, the visual shape of the C major chord is used as the basis for a B7 chord.

This time around, the basic shape of C major is moved closer to the nut instead of away from it. When this occurs, the C note on the second string must be played as an open note. The fingering of the notes on the fifth and fourth strings must also be changed. In addition, two new notes are added to the visual chord shape on the third and first strings.

The B7 chord contains four fretted notes and one open string. A low root note is played at the 2nd fret of the fifth string. Fret this note with the second finger. The note D# is fretted by the first finger at the 1st fret of the fourth string. On the third string, the third finger frets A at the 2nd fret. The second string is played open to produce another B root note. Finally, the pinkie finger frets F# at the 2nd fret of the first string. The low sixth string is omitted from this chord.

Most beginners have problems producing a clear tone with the second string. Remember to arch your wrist outwards in order to keep this string ringing clearly. Pause the lesson video at exactly 01:31. Notice the arch of Jim's left wrist and fingers.

Also, this chord poses some difficulties since all four fretting fingers must be used. Consequently, many beginners struggle when first switching between this chord and other chords.

Dominant Seventh Chord Overview

Up to this point, all of the chords discussed in the lesson series have been triads. Remember that a triad is a chord comprised of three notes. Within a triad, one or more of these notes may be doubled in a different octave. For example, the F major barre chord from the previous scene contains three F notes in three different octaves. Dominant seventh chords contain four distinct pitches. The B major triad is spelled B, D#, F#. The B7 chord adds an additional A note to this formula.

I, IV, and V Chords in E Major

The E major scale is spelled E, F#, G#, A, B, C#, D#, E. The first, fourth, and fifth scale degrees are E, A, and B. Consequently, the I, IV, and V chords in this key are E, A, and B major. Frequently, when the V chord is played, a dominant seventh chord is substituted for the basic triad. In terms of Roman numerals, this chord is written as "V7."

I, IV, V Exercise in E Major

Practice playing a I, IV, V7 progression in the key of major using the B7 chord that you just learned. Jim demonstrates this exercise at 02:43 in the lesson video. Remember to use the 2, 3, 4 or the 2, 1, 3 fingering for the A chord when switching from E to A. These fingerings are the most practical within the context of this progression.

C7 Chord

Begin with the fingering for the C major chord. Then, add the pinkie finger to the 3rd fret of the third string. The inclusion of this Bb note converts C major into a C7 chord.

Compare the sound of the C major chord and the new C7 chord. How would you describe the difference? Like Jim points out, the C7 chord sets up an effective transition to the F major chord. Chapter 3: (12:40) Alternating Bass Note: Tablature and standard notation to all alternating bass examples can be found under the "Supplemental Content" tab.

The alternating bass line is an extremely important component of the country, bluegrass, blues, and folk styles. It also plays a large role in many fingerstyle arrangements played in these genres. Learning and mastering the alternate bass line is an important stepping stone towards Jim's Phase 2 Fingerstyle Series.

C Chord with Alternating Bass

The rhythm for this accompaniment pattern is played in steady quarter notes in 4/4 time. The low C root note is played on beat one of the measure. On beat two, the four highest strings are strummed. On beat 3, the third finger must release from the root note to fret the note G at the 3rd fret of the sixth string. On beat 4, the four highest strings are strummed once again. The bass line alternates back and forth between the notes C and G.

This pattern can played with an alternate left hand fingering. By re-fingering the C chord, the third finger no longer has to jump from string to string. Use the third finger to fret the G note on the sixth string. Now, the pinkie frets the low root note on the fifth string.

In 3/4 time, the bass note of the chord alternates every other measure. On beat one of the first measure, the low root note is plucked as expected. The chord is strummed on the remaining two beats. Then, the bass note changes to G on beat one of the next measure. Once again, the chord is strummed on beats 2 and 3.

A Chord with Alternating Bass

No left hand movement is required when an alternating bass line is applied to an A chord. The bass line simply alternates back and forth between the A note on the fifth string and the open E note on the low sixth string. The chord is strummed on beats 2 and 4.

G Chord with Alternating Bass

The alternating bass line for G major must change, because the root note is played on the lowest string. This note is plucked on beat one of each measure. The B note on the fifth string is plucked on beat 3. As usual, the chord is strummed on beats 2 and 4.

E Chord with Alternating Bass

The alternating bass pattern for E major is quite similar to the pattern used for G. The bass line alternates between the notes on the sixth and fifth strings.

D Chord with Alternating Bass

The root note of this chord is located on the fourth string. Pluck this note on beat 1. On beat three, the open fifth string (A) is played. Strum the chord on beats 2 and 4.

F Chord with Alternating Bass

The alternating bass line that is applied to F major is dependent upon whether the six string version or the four string version is used. For the six string version, the bass alternates between the low root note on the sixth string and the note C fretted on the fifth string. Within the four string voicing, the third finger must move in a similar manner to the C chord. The root note on the fourth string is plucked on beat 1. Then, the third finger travels to the fifth string to fret the note C on beat 3. Make sure that the other fretting fingers remain firmly in place while the third finger moves. Chapter 4: (03:40) A Minor and More Alternating Bass Exercises

Note: Tablature and standard notation to these exercises can be found under the "Supplemental Content" tab.

These new exercises apply an alternating bass line to some of the I, IV, V progression exercises presented in Scene 2. Work through these exercises in the keys of C, A, G, and D major. The key of E can be left out for now since Jim has not yet explained how to perform an alternating bass line with the B7 chord.

A Minor Chord (Am)

Learning the Am chord is quite easy once you have mastered the 2, 3, 4 fingering of the A major chord. The fingering for these chords is quite similar. Begin with the 2, 3, 4 fingering of A major. Then, lift the fourth finger from the second string. Play the note C at the 1st fret of the second string with the first finger. An Am chord is now formed.

Am Chord with Alternating Bass

The alternating bass pattern for Am is the same as A major. The bass line alternates between the root note on the fifth string (beat 1) and the open sixth string (beat 3).

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