Now let's really multiply the possibilities by moving power chords to different locations on the fingerboard. Start by playing this familiar form. Visualize its shape Fo This two-note open E5 chord will be the basis of our first Ss movable power chord. To make this form movable, you'll need to fret the fifth string with the ring finger instead of — the index finger. Use your index finger to fret the root note on the 6th string.
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Visualize its shape as you move the chord. The root A is now at the Sth fret on the 6th string and the fifth E is now at the 7th fret on the Sth string. Fret pe er le the Sth-position AS power chord again, this time muting the top s ekob four strings with the side of the woGeFAD index finger. Strum the chord in a steady quarter-note rhythm using all downstrokes. Fos You can now automatically double your chord possibilities by constructing movable power chords from their related open chord shapes.
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Play both AS forms and compare the sound. Notice the difference in timbre or tone quality. The notes are identical, but the open form sounds a bit brighter than the Sth-position form. Play this simple progression on the 6th and Sth strings using the open E5 form and the movable AS form we just learned. Foe Realize that the two shapes are essentially the same.
The only difference is that the root of the E5 chord E is open and requires no fingering. Be aware of each chord's 6th-string root and remember to mute the top four strings Now play the same progression in an even eighth-note rhythm. Use all downstrokes and concentrate on switching smoothly. Establish the eighth-note subdivision before you begin. Be careful not to fall into the shuffie rhythm here — keep all the eight notes the same length. To get this maneuver under your fingers, play the following pattern of AS to 85, moving the shape up and down a distance of two frets.
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You'll finger the same two- note shape with first and fourth fingers. You have two obvious advantages: 1 this isa less fatiguing chord to play, and 2 you can mute with the edge of the fourth finger as an option. In Book we learned how to play a bar blues progression in the key of A using only open power chords. This is a common variation of the basic bar blues progression. There are many such variations in common use. Practice this fifth-to-sixth move in whole-note rhythm to get the hang of it. Try to keep the ring finger planted on the Sth string behind the 7th fret while extending the pinky up to the 9th fret.
Let's add a shuffle rhythm to the AS-A6 comping pattern. Start by counting triplets, as we did earlier in Book 1, and remember to play only on the first and last count of each triplet. This is the fifth-to-sixth pattern for the V chord of the progression 8. Follow the intro with the entire bar progression in E with a shuffle groove using the fifth-to-sixth comping pattern throughout. As always, be aware of the location of each chord's root and remember to apply fret-hand muting.
Transposition refers to the process of changing the tonic to a different note without changing any of the relationships to the tonic within the music. Itis often referred to in popular music as changing key. Be careful not to strike the sixth string when strumming these chords. Compare the timbre of this bar in A with the bar in A of Book. Movable forms enable you to play chord progressions all over the neck using the same shapes; you just have to keep track of the new roots as you transpose and maintain the same relative distances between the chords.
Let's continue our expansion of ideas by adding the fifth-sixth-seventh comping figure to the bar blues in A. To do this, you may have to momentarily release the ring finger from fretting the fifth A as you extend the pinky. If you feel any pain in your hand, stop playing and rest. If the pain persists, you might want to see a specialist to make sure that you aren't straining your muscles in a way that could lead to tendonitis! Play the entire bar blues in A using the fifth-sixth-seventh comping figure in a shuffle groove.
We'll borrow the AS shape from the last chapter and incorporate it into the A blues changes.
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This will require 2 new technique: switching between power chord shapes across the strings at different places in the progression, The following AS to D5 chord change involves moving the same two-note shape from the 6th and Sth strings to the Sth and 4th strings. Use the same fingering for each chord. The following progression begins in the Sth position with the A5 power chord. Whole-note rhythms are employed to help you focus on smooth switching, Let each cherd ring for its full time value, then switch chords quickly, Fs. AS ps AS Here's the same progression, but with quarter-note rhythms and the fifth-to-sixth comping pattern.
Notice that we are simply adding the pinky to the two-note shapes we already know.
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The root of this chord voicing is doubled, and is found as the two outer notes, in this case, on the 6th and 4th strings. Remember to visualize the roots as you play. Here's the same progression moved up two frets to the key of B. Accent the first 16th note of each beat and make sure your alternate-picked 16th notes are clean, smooth and steady.
Remember, alternate picking, when done strictly, is tied to your counting, not to the direction of the last stroke you played. Thus, in this figure, the AS chord on the first beat is played with a downstroke, and the next note you play the first sixteenth note is also 2 downstroke, because it also falls on a number beat two.
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The Wolf Marshall Guitar Method
go here About The Seller Dr. Return Window This item is sold As-Described and cannot be returned unless it arrives in a condition different from how it was described or photographed. Items must be returned in original, as-shipped condition with all original packaging.