Chord Fiesta Guitar Lesson

Chapter 1: (08:05) Intro to Dominant 7th Chords Before you dive into this lesson, it is important that you fully understand all of the music theory and terminology discussed in lesson 13. Jim references this information quite often in the current lesson.

Up to this point, Jim has taught you the basic major chords. You learned how to apply these chords to a I IV V progression in a variety of key centers. Now, it is time to expand your knowledge of chords and harmony. In this lesson you will learn some basic dominant seventh chord shapes as well as some minor chords. If you've been following along with Jim's Phase 1 lessons, you already know one dominant seventh shape. The B7 chord was taught in a previous lesson.

Like any other chord, a dominant seventh chord must be written a specific way. For example, a C dominant seventh chord must be written as C7. Keep this in mind when reading music or composing your own music.

Forming a Dominant Seventh Chord

Every chord in the musical language is spelled using a specific formula. For example, a major triad is comprised of the 1, 3, and 5 notes from the major scale of the same name. Let's look at the key of C for an example. The C major scale is spelled as follows: C, D, E, F, G, A, B, C. To form a C chord, take the first, third, and fifth notes from this scale. Thus, a C chord is spelled C, E, G.

A dominant seventh chord is spelled by taking the basic major triad and adding the b7 scale degree. The seventh scale degree or seventh note in the C major scale is B. If this note is flatted, it becomes a Bb. Thus, a C7 chord is spelled C, E, G, Bb. Don't worry if this music theory concept is flying over your head. Chances are that it will at first. You will understand it as you progress and learn more about music and the theory that applies to it.

Function of Dominant Chords

Listen to the basic chord progression Jim plays at about 4:00. He begins with a C chord. Then, he switches to C7. Note the difference in sound between these two chords. A dominant seventh chord produces some tension in the listener's ears. This tension must be resolved by transitioning to another chord. Notice how Jim resolves the tension of a C7 chord to an F chord.

C7

To play a C7 chord, simply add your pinky finger to the third fret of the G string. This is your Bb note.

Note: Open the "Supplemental Content" tab for diagrams of all the chords taught in this lesson.

A7

There are a few different options available for an A7 chord. It is important that you learn all of these options. Keep in mind that one or more of the options may be more difficult for you than the others. If so, devote more time to practicing the fingerings that you find difficult. Chapter 2: (09:21) More 7th Chords G7

Similar to A7, there are a few different ways to play an open G7 chord. Pay careful attention to the basic G major chord shapes that Jim uses as a visual starting point to teach these chords. The first option is used much more often than the second.

E7

Make sure you learn both options for the E7 chord. They both occur very frequently in almost every genre.

D7

There is only one practical way to play an open D7 chord. Unlike the other dominant chords, switching from D to D7 requires that you adjust your left hand fingering quite a bit. Practice switching from D to D7 until you are comfortable with this chord change.

F7

Jim demonstrates three different fingerings of the F7 chord. Two of these fingerings involve a full barre across all six strings. These chord shapes will most likely take you a week or two to master. The other option is relatively easy if you have already mastered the basic F chord. Chapter 3: (04:58) Using 7th Chords in Progressions Typically, a dominant 7th chord is used as a substitution for the basic V chord in a I IV V progression. Examine the I IV V progression in the key of C. This progression consists of the chords C, F, and G. G7 is frequently substituted for G in this progression to create harmonic tension and to set up a stronger resolution to the tonic chord, C.

Jim shows how this concept can be applied to a I IV V in the key of A. The V chord, E, can be replaced with E7.

Secondary Dominant Chords

In a I IV V progression, the I chord can be changed to a dominant chord to create a stronger resolution to the IV chord. When this happens, the progression must begin with the tonic triad. In the key of C, this results in the following progression: C C7 F G7 C. The C7 chord "tonicizes" the IV chord, F. In the context of this progression, C7 is referred to as a "secondary dominant" chord.

Now that you have learned all of the basic dominant 7th chords, incorporate these chords into all the I IV V progressions that you already know. Make sure to apply the alternating bass pattern to these progressions. Chapter 4: (07:13) Minor Chords In relation to their major counterparts, a minor chord is formed by flatting the third of a major chord. Jim first demonstrates this concept with the A major and A minor chords. Start by fretting an A major chord. The note played on the 2nd fret of the B string is the third of the chord. This note is C#. If this note is flatted, it becomes C natural, and an Am chord is formed. When playing an Am chord, the C is fretted by the first finger at the 1st fret.

Dm

Jim repeats the same process with Dm. He flats the third of the D major chord to create Dm.

Em

Em is definitely one of the easiest chords to play in the entire guitar vocabulary. Begin by fretting an E major chord. Then, lift up your first finger so that the G string is ringing open. This forms an Em chord.

i iv V (v) Progressions in Minor Keys

Similar to major keys, a i iv v progression can be played in a minor key. (Lower case Roman Numerals indicate a chord that is minor or diminished in quality.) Jim demonstrates a i iv v progression in the key of Am. The i chord is Am. The iv chord is Dm. The v chord is Em. An alternating bass pattern can also be applied to this progression.

Although the v chord in a minor progression can be played as a minor chord, it is usually played as a major or dominant seventh chord. This creates a stronger resolution to the tonic chord. The sound of these chords tends to push the sound of the progression towards home base. Chapter 5: (06:47) Even More Minor Chords! Using the Em Shape to Form Other Chords

In the previous scene, you learned the Am, Dm, and Em chords. The remaining minor chords must be played as barre chords. The first barre chord that Jim demonstrates is the Gm chord. The shape of this chord is based on the shape used for the Em chord. Like the Em chord, the low root of this Gm shape is found on the sixth string. Some fingering adjustments must be made to the Em shape in order to play Gm. For example, the notes on the fifth and fourth strings must be fretted by the third and fourth fingers respectively. Then, the first finger must perform the job of the nut by playing a barre across the 3rd fret. This particular shape can also be used to play an Fm barre chord at the 1st fret.

Using the Am Shape

The Am shape can also be converted into a moveable barre chord. Once again, the fingering of the open chord shape changes to accommodate the barre. This barre chord shape can be moved anywhere across the fretboard. As a result, this shape is an excellent choice for the Bm and Cm chords.

Chapter 6: (07:00) Barre Chords and the Relative Minor Jim continues to discuss open chord shapes and how they can be converted into barre chords. The A7 chord is a prime example. This shape can be converted into a moveable barre chord with the root note located on the fifth string.

Relative Minor Chords

For every major chord, there is a corresponding relative minor chord. You must learn some basic music theory concepts to understand how the relative minor chord relates back to its relative major. Let's take another look at the C major scale. Here's its spelling: C, D, E, F, G, A, B, C. The relative minor is built from the sixth scale degree of the major scale. The sixth scale degree is A. Consequently, the relative minor chord to C is Am.

One very common progression using the relative minor chord is the I vi IV V. In the key of C, these chords are C, Am, F, and G.

Lesson Wrap-up

Jim closes this lesson with some final thoughts on practicing barre chords. Playing barre chords properly has everything to do with applying leverage in the right locations. If you are experiencing any difficulties, experiment with making some adjustments to your wrist and thumb position. Watch Jim for a demonstration of these adjustments. Finally, remember that it is much better to practice frequently in short sessions rather than doing a marathon session every couple of days. Over the course of a long session, your focus gradually diminishes.

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