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Week 10 - Day 1: The Dmaj7 Chord
The Dm7 chord looks like this and contains the notes D, A, C#, and F#:
You'll notice that there is only one difference between the Dmaj7 and the D Major chord - and that is the
note on the second fret of the B string instead of the third fret.
That creates the 'seventh' you have become extremely familiar with.
Slash Sheet Exercise (95 BPM):
Now we need to look at the fretboard for logical areas in which the D, A, C#, and F# appear:
As always with a seventh we need to fix the
notes to create the seventh. I wanted to do this
for you as a recap:
We need to reflect the notes of D, A, C#, and F#:
We removed the duplicate A note on the fifth fret
of the Low E string as well as the D note on the
G string at the seventh fret. We now have a Dmaj7
barre chord. This is an A style barre chord.
Additional Option #1 (from above):
Applying Fingerstyle To The Dmaj7 Chord
Exercise 1
Exercise 2
Week 10 - Day 2: The D/C# Chord
The D/C# chord looks like this and contains the notes D, A, F# - and of course the bass note C#.
Now you already know that I play a D Major different (fingerings of 121), so this can be adjusted to how
you prefer to form the D Major. The chord diagram above shows one of the most traditional methods.
Basically all you do is add the C# BASS note.
This is on the A string at the fourth fret. You will most definitely need to use your 4th finger to strike it no
matter what, so that aspect isn't really optional. Sorry.
It's important to note that this chord will almost NEVER be strummed fully.
Usually it will be a fingerstyle-based type of chord where the bass note plucks OVER the chord tone of D
Major.
When we get to the songs you'll know what I mean.
However, I did include this chord as a strummed chord for reference.
Slash Sheet Exercise (95 BPM):
Simply practice transitioning FROM the D Major to the D/C#
Now we need to look at the fretboard for logical areas in which the D, A, F#, and C# appear:
There isn't much to really show you when it comes
to this chord, but looking at the fretboard helps
you realize where the bass notes of C# need to
come from.
This is really the only LOGICAL place where the
C# is the bass note AND can be fingered in a
reasonable way. All we need to do is form the
actual chord:
You can see the notes I removed easily. While the
open D string isn't technically needed to play,
you CAN play it if you have trouble with the
picking for it - which would most likely be your
fingers instead of a pick.
Applying Fingerstyle To The D/C# Chord
Exercise
Week 10 - Day 3: The F#m7 Chord
The F#m7 chord looks like this:
Here we have the notes F#, C#, E, and A.
Slash Sheet Exercise (95 BPM):
Simply practice playing the F#m7 to the F#m in this exercise.
Now we need to look at the fretboard for logical areas in which the F#, C#, E, and A appear:
Applying Fingerstyle To The F#m7 Chord
Exercise
Week 10 - Day 4: The G/F# Chord
The G/F# chord looks like this:
In order to play a G/F# chord we must have the notes: F#,G, D and B. Basically we have the same notes
from the G Major chord (G, B, and D) but we need the F# bass note INSTEAD of the bass note G.
I have seen a few variations of the G/F# chord and most of them are nonsense. Remember - ALL WE
NEED are the correct notes. Of course, in this case we DO need the F# to be the bass note, so that is
important. Anyway, the above chord diagram is the easiest way to play a G/F#.
In theory...you could remove your 3rd finger from the B string and let that ring open. Then you wouldn't
need to play the second fret note on the A string - but you'd have to mute it - because it would produce an
open A string note. Why not just stick to the G Major formation and simply add the F# note? You can
choose to use your 1st finger or even your thumb if the progression ends up being tricky, but odds are
you'll do fine with the 1st finger arrangement. This is another chord that isn't usually strummed out as
much but moreso the bass note is picked out over the chord.
Slash Sheet Exercise (95 BPM):
Simply practice playing the G Major to G/F# chord four times each measure.
Now we need to look at the fretboard for logical areas in which the F#, G, D, and B appear:
Applying Fingerstyle To The G/F# Chord
Exercise
Week 10 - Day 5: The A7sus4 Chord
So you're familiar with the A7....
You know that when we 'suspend' a chord we need to find the 1, 4, and 5 - or in a "sus2" we need the 1, 2,
and 5.
You also know that when we create a 'seventh' we must flatten it.
So - in the A7sus4 we must find the: 1, 4, 5, and b7. Here it is:
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
A
Note: You can also play the A7sus4 (as if there were a progression of A7 to A7sus4) like this, because it is
much easier to finger:
Slash Sheet Exercise (95 BPM):
Simply practice playing from the A7 to the A7sus4 four times each measure:
Now we need to look at the fretboard for logical areas in which the A, D, E, and G appear:
Applying Fingerstyle To The A7sus4 Chord
Exercise