Movable Chords Guitar Lesson

Chapter 1: (08:49) Chords that Move In previous Phase 1 lessons, Jim taught you a few chord shapes that can be transposed to other areas of the neck. For example, both versions of the F chord that he has presented can be moved anywhere on the fretboard to form other major chords. First, take a look at the F chord voicing that features a full or grand barre across all six strings. This particular chord's root note is found on the low E string. As a result, the chord is named by the note that is fretted by the first finger on the sixth string. If this entire chord shape is moved up a half step, the resulting chord is F# major. If it moves up another half step, the resulting chord is a G major barre chord.

In this lesson, Jim will demonstrate how to play other chord shapes that can be moved to different areas of the neck. Some of these shapes involve playing a barre, and others do not. It is very important that you master every chord taught in this lesson at some point in time. However, if you are currently experiencing difficulties playing barre chords, learn and practice the chord shapes that do not involve a barre first.

Why Learn So Many Chords?

There are so many reasons for building an extensive chord vocabulary that it is impossible to list them all in this lesson. However, here are a few primary reasons why it is important to build an extensive vocabulary of chords.

1. Various vocings, or different ways of playing the same chord, have an overall different sound. The sound of one voicing may be pleasing in the context of a certain situation and may not be in another context.
2. Various chord shapes allow you to play different melody notes in conjunction with them.
3. Learning a wide variety of ways to play the same chord greatly enhances your overall knowledge of the fretboard.
4. Barre chords allow you to add left hand muting to your rhythm playing. This enables you to apply percussive sounds to a rhythm pattern.

Learning Note Names and Locations

Most of the chords presented in this lesson feature a root note on either the fifth or sixth string. In order to recognize the proper name of a moveable chord shape played anywhere on the neck, you must know the note name of every fret location across these two strings. It's not that important that you memorize every note / fret location at this point in your musical development. However, it is very important for you to possess the ability to figure this information out using a logical music theory process.

In a previous lesson, Jim demonstrated how the keys on a piano are laid out. You learned that in the musical alphabet there is either a whole step or a half step between two notes. On the guitar, one fret to the next represents a half step. Two frets represent a whole step.

Now, let's apply these ideas to the musical alphabet. The musical alphabet is spelled as follows: A, B, C, D, E, F, G. You must memorize that half steps exist between the notes B and C and between E and F. If you know this piece of information and the name of the open strings, you can figure out the note name of any fret / string location on the guitar.

Let's use the low sixth string as an example. When this string is played open, it produces the pitch E. We know that F is a half step up from E. Therefore, the note name of the first fret must be F. Then, we know that G is located a whole step or two frets up from F. As a result, the note G is found at the third fret. By the same principle, A is found two frets up from G. Hopefully, you are beginning to see how these patterns apply to the location of notes on the fretboard.

This information is also used to name chords. For example, if you slide the F barre chord that you already know up two frets, it becomes a G barre chord.

Note: If you are having a hard time figuring out the name of a specific note on the fretboard, a chart with all the note names / fret locations is available in the "Supplemental Content" section. However, you do not want to rely on this chart. Chapter 2: (10:24) Different Barre Chords Using the A Chord Shape As a Barre Chord

Jim demonstrates how the fingering for a basic "open" A major chord can be translated into a moveable barre chord. Closely observe the fingering that Jim uses to fret the open A chord. This chord shape contains two open strings, A and E. When this shape is used in barre chord form, these open strings must be fretted by the first finger. The first finger must perform a barre across five strings to fret both of these notes. It is not necessary that you barre the sixth string. However, Jim prefers to barre all six strings. He feels that this gives him more leverage when fretting a barre chord. It also allows him to play an alternating bass line within the context of this chord shape.

When the A chord shape is converted into a barre chord, the root note is still located on the fifth string. Therefore, the note fretted by your first finger will name the chord. Jim plays the natural notes available on the fifth string. It is important that you learn the appropriate note names across this string since the root of the major barre chord is found on it.

Playing a B Barre Chord

Now, apply the shape of the A chord to a barre chord played in second position. Since your first finger is fretting the note B, a B major barre chord is formed.

Playing this particular barre chord shape requires a great deal of finger independence. If you find that you are struggling with this chord, practice some basic finger exercises and scales. When you return to the barre chord, you may find it a little more manageable. Most students have problems with muting the high E string. If this is the case, don't worry! Keep practicing, and you'll get it eventually. Your fingers simply need to get used to performing a large stretch that seems very unnatural at first.

Jim demonstrates how this barre chord shape can be played up the length of the entire fretboard. First, he utilizes this barre chord shape to play a C major chord. Jim plays a melody in conjunction with this chord to illustrate how this barre shape can potentially provide you with different musical possibilities. The pinky finger can be lifted out of position to play an entire C major scale. The barre shape also gives you the ability to play chordal rhythms with a muted, staccato feel.

Playing a Double Barre with the Third Finger

Instead of cramming three fingers into the space of one fret, the third finger can be used to barre the D, G, and B strings. This frees up your middle and pinky fingers. Most players find this fingering for this barre chord to be much easier than the version discussed earlier. However, this fingering does not allow you to keep the first string ringing without great difficulty. For this reason, many players choose to omit the note on the high E string when fretting this chord.

Using the C Chord Shape As a Barre Chord

Similar to the open A major chord shape, the shape of an open C chord can also be utilized in the context of a moveable barre chord. Once again, the root of the chord is found on the fifth string. Unlike the A shape, playing a C shaped barre chord requires that you alter your fingering. This is due to the fact that the first finger now must fret the notes that were once open strings. A chord diagram of the fingering for this barre chord can be found within the lesson video and in the "Supplemental Content" section. Chapter 3: (05:58) More on Moving Barre Chords Jim kicks off this scene with a quick review of the major barre chord shapes that he has discussed thus far. You have learned that the shapes of the E, A, and C chords can be converted into moveable barre chords. Learning to play these chords up and down the fretboard will multiply the chord possibilities available to you exponentially.

In this scene, Jim takes a look at some minor chord shapes that easily translate into moveable barre chords.

Using the Em Chord Shape As a Barre Chord

Begin by fretting the basic open Em chord. When this shape is converted into a moveable barre chord, the notes on the A and D strings must be fretted by the third and pinky fingers respectively. Once again, this fingering adjustment is due to the fact that the first finger must perform a barre. In the case of this minor chord option, the first finger must barre all six strings. When playing this chord, many players find it helpful to use the second finger as a clamp in order to help the first finger barre all six strings. Regardless of the fingering adjustments, the root of this chord is still found on the sixth string.

Using the Am Chord Shape As a Barre Chord

The shape you learned for the basic Am chord can also be converted into a moveable barre chord. Most guitarists consider this the easiest barre chord to play. If you are having problems with the other barre chords presented in this lesson, focus your time on mastering this chord.

Similar to the other shapes, this barre chord requires some fingering adjustments. Also, you have the option of barring all six strings or just five. Barring all six strings may seem a little more difficult. However, this technique will allow you to play a low alternating bass line within the context of the chord shape.

Problems with Barre Chords

There is no getting around the fact that barre chords are very difficult to play correctly. They require a certain level of finger dexterity that most people do not inherently possess. This dexterity only comes with time, patience, and practice. However, there are some things you can do to ensure yourself a fighting chance. For instance, make sure that your thumb is perpendicular to the back of the middle of the neck whenever you play a barre chord. Also, you need to determine how much pressure you must apply to the neck in order to keep each string ringing. Squeezing the neck with unnecessary pressure will only result in fatigue. Finally, remember the basic fretting principles discussed in earlier lessons. Try to keep your fingers as close to the frets as possible at all times. Chapter 4: (14:14) Other Moveable Shapes In this scene, Jim presents some moveable chord shapes that do not require a barre. The open C7 chord shape is a prime example.

Playing the C7 Chord Shape

Start off by fretting a regular open C major chord. Then, use your pinky finger to fret the note Bb at the 3rd fret of the G string. This forms a C7 chord. When playing this chord, every string is typically strummed with the exception of the low E string. However, if the high E string is also omitted from the chord, this chord shape can be used as a moveable dominant seventh voicing anywhere on the fretboard. The root of this chord is found on the fifth string.

For example, if you move this entire shape up two frets, a D7 chord is formed. You can also use this shape to play E7 with the root on the 7th fret. When playing this particular chord, you can include the open E strings since they are contained within the spelling of the chord.

Additional Moveable Chords

Jim demonstrates some additional options for major chords. He presents a brand new option for playing a D chord in fifth position. This particular chord only involves the three treble strings. The root is fretted by the third finger at the 7th fret of the G string. The fourth finger frets F# at the 7th fret of the B string. Finally, the first finger frets A at the 5th fret of the high E string.

The shape for the open D chord can also be converted into a moveable shape if the open D string is omitted from the chord. This leaves you with a moveable major chord shape with the root note fretted by the third finger on the B string. Jim demonstrates a G chord in seventh position that utilizes this fingering.

Applying These New Chord Shapes

Once you can successfully play all of the new chords presented in this lesson, it is time to apply them to some basic I IV V progressions in major and minor keys. Make sure that you are using multiple chord shapes within each key. For now, stick to the keys of C, G, D, A, and E major as well as A, E, and B minor. Some exercises will be posted in the "Supplemental Content" section to help get you started with this process.

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