Adding open strings to a barre chord shape that doesn't ordinarily contain them creates a strange new chord. These new chords are commonly used in the rock and folk genres.
Taught by Brad Henecke in Rock Guitar with Brad Henecke seriesLength: 9:09Difficulty: 2.5 of 5
In lesson 3, Brad demonstrated how to transform the open E chord shape into a moveable barre chord. (Review this lesson now if necessary.) This particular barre chord has its root on the sixth string. This chord shape is the basis for the following chord shapes:Intro to Chord Theory
Fmaj7(#11)Begin by forming an F major barre chord at the first fret. Now, instead of using your first finger to barre all six strings, use it only to fret the low root note. This leaves the B and E strings open. A brand new chord has been created. This particular F chord has a strange and mysterious sound. This is due to the manner in which the open strings interact with the basic F major triad.F#7add11This chord shape (open strings included) can be moved to different areas of the fret board. Slide the F chord shape up one fret. Your second finger is now playing F# as the root note of the chord. This new chord has a totally different sound. Once again, this is due to the addition of the open strings. This particular chord has a dominant sound.G6Slide the shape up another fret. This forms a new G chord. Take a look at some chord progressions you know that use a G chord. Try substituting this new form of the G chord for the old open G or G barre chord.Aadd9Not all root notes work with this chord shape. Notice how there is no chord shape for the root note G#. This is because the open B string clashes with the sound of the chord. Play the chord shape at the fourth fret to see just how horrible it sounds. As a result, the next available option is the root note A at the 5th fret. This forms an Aadd9 shape.Badd11This chord has a very unique sound. The D# on the G string is only a half-step away from the open E string. These notes rub together to give the chord its unusual sound.Cmaj7This is probably the most normal sounding chord presented in this lesson. The Cmaj7 voicing sounds like a normal Cmaj7 barre chord with a heavy chorusing effect applied to it.D6/9The final available chord shape occurs at the 10th fret. The root of this chord is D. At the 12th fret, the pattern of chords begins again in a higher octave.
Note: The following information is taken from Matt’s Phase 2 Jazz Series.Chord Progressions Using These Chords
It is possible to know a vast number of chord shapes without knowing the theory behind them. However, I highly recommend you do not take this approach. The process of determining the individual notes in a chord may seem confusing at first, but it is a relatively simple task. Study the instructions below.
1. Start with the major scale corresponding to the letter name of the chord. For example, if you want to figure out the notes in C7, start by writing out the C major scale. Even if you are spelling a minor chord, you must start with the major scale of the chord name.
2. Determine the "triad type" of the chord. A triad is a chord containing three notes. It is also the base structure of any chord that contains more than three notes. There are four types of triads: major, minor, augmented, and diminished. Each of these triads is spelled using a different formula.
Note: The symbols that are frequently used to abbreviate these triad types are: ?,-,+,o respectively. Thus, a Cmaj77 chord may be abbreviated as C?7. Here are the formulas for these triads:Major triad: scale degrees 1,3,5.Remember to start with the MAJOR SCALE regardless of whether the chord is major!
Minor triad: scale degrees 1,b3,5.
Augmented triad: scale degrees 1,3,#5
Diminished triad: scale degrees 1,b3,b5
3. If the chord contains more than three notes, consult the formulas below.MA7: 1,3,5,7For some practice, let's spell an E chord. We know from the Circle of Fifths that the key of E has 4 sharps.
Dominant 7: 1,3,5,b7
o7: 1,b3,b5,bb71. The scale is spelled E,F#,G#,A,B,C#,D#,E.Now, let’s take a look at some of the chords discussed earlier in the lesson. The first chord is labeled Fmaj7(#11). How is this chord named? To determine how a chord should be named, determine the individual notes that make up the chord. From the lowest string down, this chord contains the notes F, C, F, A, E, B. From this we can see that the chord contains an F triad: F, A, C. Now, we must analyze how the other two notes fit into the chord. E is the major seventh. B is a #11 interval from the root. Thus, the chord is named Fmaj7(#11).
2. The 1,3,and 5 chord tones are E,G#,and B. Thus, an E chord is spelled E,G#,B.
The chorus part to the Alice In Chains hit “Heaven Beside You” utilizes these new chord shapes. This progressions provides a great example of how these chords can be used in the context of a song. Here are the chord changes in the chorus section: Aadd9, G6, CMA7, Badd4.
New Chords from Open C ShapeThe open C chord can also shift up the fretboard to create new chord shapes.
Note: Open “Colorful Chord Tension” in the “Supplemental Content” tab for fretboard diagrams of these chord shapes.
Dadd9,11 Fmaj9, G6, A7Slide the open C chord shape up two frets. The two open strings in the C chord remain open. This forms a strange sounding new D chord. This chord also works with the following root notes: F, G, and A.Experiment with Other ShapesThese are just a few examples of chord shapes that you can add open strings to. Brad briefly demonstrates how the A7 and D chord shapes can be applied to this concept as well. The Alice in Chains song “Brother” shifts the A7 chord shape to form new chords.Experiment with all the chord shapes you know. The open chord shapes are the best place to start since they already contain open strings. You never know what you’ll come up with!
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In this Phase 2 series Brad Henecke will school you in the art of rock guitar. You will not only learn how to play some of your favorite songs in this series, but you will also learn how to create your own.
This lesson covers the absolute basics of rock guitar. Learn about the electric guitar, pickups, amplifiers, changing strings, and more.Length: 52:09 Difficulty: 0.5 Members Only
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Brad Henecke introduces common strumming patterns and barre chords.Length: 42:23 Difficulty: 2.5 Members Only
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Brad demonstrates how open strings can be added to chord shapes you are already familiar with.Length: 9:09 Difficulty: 2.5 Members Only
Brad covers the fourth pattern of the minor pentatonic and minor blues scales.Length: 8:28 Difficulty: 2.5 Members Only
In this lesson Brad demonstrates how to play the Beatles song "Daytripper."Length: 15:21 Difficulty: 3.0 Members Only
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Learning the modes is essential to the development of your scale vocabulary.Length: 31:04 Difficulty: 3.0 Members Only
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Brad covers more advanced harmonic techniques such as harp harmonics, pinch harmonics and tap harmonics.Length: 16:10 Difficulty: 3.0 Members Only
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Brad explains and demonstrates the Phrygian mode.Length: 13:33 Difficulty: 3.0 Members Only
Brad continues his discussion of the modes. You will learn the Lydian mode in this lesson.Length: 9:27 Difficulty: 3.0 Members Only
Brad explains the Mixolydian mode and its practical applications.Length: 10:00 Difficulty: 3.0 Members Only
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The final lesson in our modal series covers the Locrian mode.Length: 9:00 Difficulty: 3.0 Members Only
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Brad Henecke demonstrates some cool blues licks.Length: 17:00 Difficulty: 3.0 Members Only
Brad Henecke provides an alternate way of comparing modes and scales.Length: 8:00 Difficulty: 3.0 Members Only
In the last lesson, Brad Henecke compared some scales that are major or dominant in quality. Now, he repeats this process with minor scales.Length: 7:00 Difficulty: 3.0 Members Only
This lesson is all about 1 string scales. Learning scales on 1 string is essential to your knowledge of the fretboard.Length: 8:34 Difficulty: 3.0 Members Only
Brad demonstrates a one string version of the Ionian mode. This lesson demonstrates the importance of horizontal scales.Length: 7:27 Difficulty: 3.0 Members Only
Brad continues his discussion of single string scales. He explains how to play the Aeolian mode across a single string.Length: 4:11 Difficulty: 3.0 Members Only
Brad explains how to locate octaves within scale patterns. He demonstrates a cool lick that involves playing simultaneous octaves.Length: 7:07 Difficulty: 3.0 Members Only
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Brad introduces the harmonic minor scale. He explains how it can be applied to the solo break in "Sweet Child O' Mine."Length: 7:00 Difficulty: 3.0 Members Only
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Brad Henecke explains diminished chords and provides a fun diminished arpeggio exercise.Length: 19:00 Difficulty: 3.0 Members Only
Brad Henecke addresses time signatures.Length: 10:00 Difficulty: 2.5 Members Only
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Brad Henecke introduces drop D tuning in this lesson. He explains many advantages of this tuning.Length: 12:57 Difficulty: 2.0 Members Only
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Brad will show how to use the Mixolydian scale with a blues chord progression.Length: 6:56 Difficulty: 3.0 Members Only
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In this lesson, Brad Henecke introduces the wah pedal and demonstrates its many applications.Length: 15:53 Difficulty: 1.5 Members Only
About Brad Henecke
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Brad Henecke was born in Cedar Rapids, Iowa on May 5th of 1963. He has been a fan of music for as long as he & his family can remember. You could always find him running around the farm wailing on his cardboard guitar, pretending to be a member of the rock band KISS. Additional inspiration came during his first concert when he got the chance to see Boston & Sammy Hagar in the early 1970's.
This opened up a whole new world of rock and roll music for him; his parents noticed his growing interest in music and enrolled him into guitar lessons when he was 13.
From there he jumped into two years of lessons at a local music store in Cedar Rapids. After discovering Eddie Van Halen, Brad knew that the guitar would always be a part of his life. He took his love throughout the city as he played as a pit musician & jammed at parties for friends.
This made him thirsty for more. He enrolled classes at Kirkwood Community College & also took lessons from the one & only Craig-Erickson (www.craig-erickson.com).
His love for music landed him a gig opening for Molly Hatchet in Cedar Rapids with a band called "Slap & Tickle". He has also played in the Greeley Stampede show for quite a few years with "True North".
Brad is currently playing in Greeley, Colorado with a rock band titled "Ragged Doll". They play a wide variety of music with an emphasis on classic rock from the 60's to present, with Brad playing electric guitar in the five piece lineup.
He currently jams on his all-time favorite guitar: a Paul Reed Smith Custom 24. Beyond guitar, he plays also plays drums & bass guitar. He has also been known to thrash a banjo from time to time. He is still actively playing & passing his 31 years of playing experience on to others (you!).
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