Moveable Chords (Guitar Lesson)

This lesson is a milestone: another one of those turning points that give you a glimpse of the next level of your playing. In this case, we’re talking about moveable chord forms.

So far, we’ve learned specific chord “shapes” - finger patterns on the first three frets of the guitar. Of course, we know that there’s a lot more real estate on the instrument we haven’t touched yet, and those upper frets aren’t just for lead playing. Any formation that sounds good in one part of the neck can sound good in another: we can take a familiar open position chord and move it along the neck to create a different chord.

Two important things to keep in mind about moveable chord forms. One, I’m using the term “form” because the notes change when we move a chord shape up the neck, even though the finger pattern looks the same. Two, the quality or type of chord will remain constant. So while the root note (the letter naming the chord) changes, major chord forms stay major, minor forms stay minor, and so forth.

In this lesson, we’re working with 7th chords. At 1:14 we start by constructing a C7 chord: from the familiar C shape, add the little finger to the third fret of the 3rd string. This new 4-finger form can now be moved along the neck to create other 7th chords. Keeping the fingers in contact with the strings, glide along the neck to the 5th position. Remember our position concept: fifth position means that the index finger is on the fifth fret. This puts your ring finger on the seventh fret of the 5th string, which is an E note. Our C7 is therefore now an E7.

A touch of theory. When we look at the natural notes (no sharps or flats), the distance from one letter to the next is a whole-step or two frets (with the exception of B-C and E-F). So moving a C form up 2 frets gives us a D, and moving two more brings us up to E. Our C7 has therefore moved up two whole steps to E7, and as I pointed out before, the fingering or “shape” remains the same.

One more important idea about moveable chords: since open strings don’t change when you move a shape, they will only fit the chord in certain places. In this instance, we can include both the low and high E strings in the new chord because E7 already contains the note E. If we were one fret higher or lower, those open E’s would clash with the rest of the chord, but here they blend beautifully.

The second chord we use in this lesson is a new form of A7. The shape is related to the simple F chord from lesson 17, but take a look at the chord diagram at 3:50. You’ll notice that the index finger barre now extends across all six strings. The middle finger sits on the 3rd string, the ring on the 5th. In open position, we’d be holding down frets 1-3, but we’re going to move the index finger barre to the fifth fret. This moves the first fret F up two whole steps to a 5th fret A. Notice that we’re not using the pinky finger, so the 4th string is covered by the barre. This note adds a 7th to the chord, making it a 5th position A7.

We walk through this formation in detail starting at 4:00. Barre chords can be tricky and are a major hurdle for most beginners, so this deserves some attention. The order you place the fingers in can make a big difference: it’s often easier to plant the other fingers first and then add the barre.

Our practice track “Choogle” uses these new E7 and A7 chords with a basic back- and-forth eighth note strum. As before, practice the transitions slowly out of time, then in time without the track. Notice that these two chord shapes share a note, the ring finger on the 5th string. When you make the transition, keep that finger down and only move the others. It provides a point of balance, and gives us one less note to find. When you’re able to make a smooth transition slowly, go to the playalong track. The primary rhythm is more or less repeated with a few variations through the tune: you’ll probably find it’s easiest to hold off on adding the variations until you’re comfortably coordinating both hands.

Mastering movable chords is an essential step in your growth as a player, because these forms allow you to get out of the open position and the simple vocabulary of “cowboy chords”. Once you open that door, the possibilities are endless!

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