Week 2 - Day 1: The Dm Chord
The Dm chord looks like this:
In this chord, the fretted notes include the notes D, A, and F. In other words, we need these three notes
to form the triad (three) or chord of Dm.
Before we begin learning more about the Dm chord, compare the D MAJOR and the Dm:
OR
VS.
The first D Major is the 'standard' way of fingering the chord. The second D Major is how I choose to play
the D major. Beside the two D Major chords is the Dm. Regardless of how you choose to position your
fingers for the D Major chord, there is really no logical way to play the Dm in an open position without
placing your fingers as I've shown in the Dm chord diagram.
If you look closely you will see that the Dm chord only changes one note to F, which is lower in tone as
compared to the D Major version.While we have already learned five other chords, we need to first
discover how to strum this chord using a slash sheet.
A slash sheet is a very simple way of getting familiar with a chord in question, because there's nothing
confusing about it. All you have to do is strum the chord being investigated four times per measure. This
lesson is performed at 85 BPM.
Slash Sheet Exercise:
Simply practice playing the Dm chord four times each measure.
Once you are able to play that easily, we can then check out different LOGICAL areas in which we can play
a Dm chord on the fretboard. Notice I said logical.
Just because we can find the three notes of D, A, and F on the fretboard, it doesn't mean that we should
just do so. Instead, we need to create a grouping of three notes (triad) that make sense in practical usage.
Now we need to look at the fretboard for logical areas in which the D, A, and F appear:
The notes that make up the Dm chord can be found in a
variety of positions on the fretboard.
Viewing the fretboard over and over might seem like a
complete waste of time, but you'll find that as you
examine each series of notes within each chord - without
seeing the other notes - it makes it much easier to
separate how chords work.
When we first started the course, you'll recall that I
talked about the C Major chord being played as a "fifth,"
or in other words - a C5.
The same applies in EVERY chord you ever run across. If
you are more of a 'rocker' you'll find yourself omitting a
full barre chord and playing a "5" instead, which displays
a given chord as a power chord. In the case of C5 or
D5, there is no such thing as a minor!
In other words, because you are only playing the fifth of
the chord (and optionally the note above the octave of the
root) you will never come into contact with what makes a
minor chord a minor chord.
Parentheses indicate the octave and is optional.
C5 = x35(5)xx
D5 = x57(7)xx
Optional Position #1 (A Style)
This position is a standard Dm barre chord played with
the root on the A string. You'll recall that when we dealt
with a few other chords like this the fifth fret note (A) on
the Low E string is actually optional, and often is only
played by accident. What is really cool about barre chords
is their inheritable traits from an open chord. Remember
below....
D Barre Chord: (x)57775
Dm Barre Chord: (x)57765
"X" indicates optional string and an asterisk indicates
note shift. We are moving DOWN in pitch to create a
minor! (F# down to F)
Optional Position #2 (E Style)
The EXACT same issue applies here as from position #1.
This time we have a Dm barre chord with the root
perfectly positioned on the Low E string, creating an E
style barre chord.
We are moving DOWN in pitch to create a minor! (F#
down to F)
Interesting huh?
Before We Apply Fingerstyle...
We need to practice these possible positions, so we need to revisit the slash sheet. This time, I'd like you to
practice through an entire bar (all four measures) playing each possible OPTIONAL position.
Optional Position 1
Optional Position 2
Expanding On What We've Learned
Last week we learned five chords: C, Am, F, G, and D. We are going to play part of a song TODAY using C,
Dm, Em, F, and G and practice 'real-world' strumming to "Like A Rolling Stone" by Bob Dylan.
While the actual song doesn't stick to the same exact strumming pattern over and over (a song rarely does
unless it's super boring) we are going to focus on ONE pattern for now.
Strumming Pattern: DDD, DU
While I simply cannot go into the same detail you are about to see with every song (the goal here is to help
you investigate this concept so that you don't need me to do this every time) I will go into some serious
detail here.
See how well you do. Don't worry, if you have trouble at the end of the week you will have the full guide to
practice with.
To Begin The Song...
This is the tab I want you to use for the intro:
Fingerings:
Chords Used:
If you aren't able to include the vocals yet with this segment that is fine. The prime focus is practicing
strumming this progression with more than just a boring slash sheet.
After you play the intro begin playing what you see below. The first image is just the chord names and
lyrics.
The second image includes where to strum (highlighted in yellow with red letters) and was VERY time
consuming.
Basic Passage:
Strumming Legend:
Is the whole concept of DDD, DU starting to make sense now? I realize the highlighted one is much
smaller, but that was as big as I could make it due to the spacing issues in my Word program. (This is
another reason I don't create legends like this.)
I feel as though that was a great recap for many of the chords you've learned. Before today's lesson is over,
we need to practice playing the Dm as a fingerstyle passage. I'm not asking you to perform a strumming
exercise on the Dm barre chord variations because I feel as though by now you can do this on your own.
Simply strum the barre chords in any order, but be sure to use the slash sheet so that you don't confuse
yourself. Since there are two variations on the Dm barre chord, maybe separate those into two measures
each.
Applying Fingerstyle To The Dm Chord
Exercise 1
Fingerings
Exercise 2
Fingerings
Exercise 3
Fingerings
Week 2 - Day 2: The Em Chord
The Em chord looks like this:
In this chord, the fretted notes include the notes E, B, and G. In other words, we need these three notes
to form the triad (three) or chord of Em. Even though we aren't working with the E Major chord until
Week 2 - Day 4, here is a side-by-side comparison between the Em and the E Major:
VS.
Are you starting to see a trend? With the Dm chord we simply moved our F# (from D Major) to an F
(which is a LOWER note) to create the Dm. In the case of Em, we've actually done the same thing - even
though it might not look like it. Pay attention to the note on the G string under the chord diagram. In Em
the note is open and rings out as G. Looking at E Major you'll see that the G string calls for a note on the
first fret, which produces an Ab (or G#).
Remember the note order: A, A#/Bb, B, C, C#/Db, D, D#/Eb, E, F, F#/Gb, G, G#/Ab
We are doing the same thing here. E Major has an Ab/G# note, so in order to create a minor for the E
Major, we need to move the tone down in pitch. Since there is nowhere to go (fret zero) we can simply play
the note open. It will ring as a lower tone.
We are still playing this exercise at 85 bpm.
Slash Sheet Exercise:
Simply practice playing the Em chord four times each measure. Once you are able to play that easily, we
can then check out different LOGICAL areas in which we can play an Em chord on the fretboard.
Now we need to look at the fretboard for logical areas in which the E, B and G appear.
There's only one very important thing I'd like to show you
as you examine the fretboard. Pay close attention to all of
the 'open' string notes (fret zero) and you'll see
something very interesting.
If you REALLY wanted to you could actually play the G,
B, and High E strings completely open. No notes need to
be fretted at all!
While I don't feel as though you should do this because
we are beyond this idea, often guitar instructors like to
show this as an option and call it a "little" Em.
You may have heard of the "little" G as well where you
finger the third fret on the Low E string and the second
fret on the A string.
I thought I would touch base on this concept in case you
ever hear someone mention it, but again - we are beyond
that.
Optional Position (A Style)
This position is a standard Em barre chord played with
the root on the A string. You'll recall that when we dealt
with a few other chords like this the seventh fret note (B)
on the Low E string is actually optional, and often is only
played by accident.
CHECK THIS OUT!
This is NOT an optional position. Well, actually it IS, but
I wanted to show you something instead. As you know by
now, once you reach the 12th fret the notes and patterns
begin repeating. The bonus question would be....
"How do we form an Em barre (E Style) on the 12th fret?"
Add the 14th fret notes to the A and D string!
In terms of basic strumming there is absolutely NO need
to move this high on the fretboard.
Before We Apply Fingerstyle...
We need to practice these possible positions, so we need to revisit the slash sheet. This time, I'd like you to
practice through an entire bar (all four measures) playing the possible OPTIONAL position.
Optional Position
Applying Fingerstyle To The Em Chord
Exercise 1
Fingerings
Exercise 2
Fingerings
Week 2 - Day 3: The A Major Chord
The A Major chord looks like this:
OR
OR
In this chord, the fretted notes include the notes A, E, and C# (Db). In other words, we need
these three notes to form the triad(three) or chord of A Major. You'll recall how the Am looks from
Week 1: Day 2, but I'd like to show you a side-by-side comparison for an important reason:
VS.
OR
OR
There is no real logical way to change the finger positionings for the Am chord. You basically play it as you
see it. However, I play the A Major chord possibly a little different than what traditional teachers will
show.
Traditionally speaking, you'll often find that the A Major chord will be fingered as such:
However, I almost always play it like this:
There is a very important reason. When I write songs I tend to enjoy playing a chord progression from
Major to minor or minor to Major. It sounds quite unique. That being said, I have created a habit (but not
ALL habits are bad every time!) so that my fingers move effortlessly during these transitional chord
progressions. Here's a neat little sneak peek:
to
That is SUPER easy to do because you simply lift your 4th finger off and use your 1st finger to play the
first fret note on the B string when moving from A Major to Am. Of course, the same applies in reverse.
Feel free to experiment with the finger options, but I think once you get the swing of playing the A Major
using 2, 3, 4 you will end up playing the chord this way exclusively.
You'll also notice that I show an A Major played like this:
This is a great 'cheat' on the A Major as long as you avoid striking the High E string. Due to the need of
barring your 1st finger you will automatically have a 1st finger barre on the second fret of the High E
string. This will make the A Major chord an A6 (or an F#m7) and DOES change the overall tone of the
chord.
Slash Sheet Exercise:
We are now playing this exercise at 95 bpm.
Simply practice playing the A Major chord four times each measure. Once you are able to play that easily,
we can then check out different LOGICAL areas in which we can play an A Major chord on the fretboard.
Now we need to look at the fretboard for logical areas in which the A, E, and C# (Db) appear.
Optional Position
This position is a standard A Major barre chord played as
an E Style barre chord.
You could create a power chord from this by simply
playing just the E string A note on the fifth fret, the A
string E note on the seventh fret, and if you would like to
double the octave of the root, play the A note on the D
string at the seventh fret as well. This would be an A5
power chord.
Remember that with power chords there is no such thing
as a minor.
Before We Apply Fingerstyle...
We need to practice this possible position, so we need to revisit the slash sheet. This time, I'd like you to
practice through an entire bar (all four measures) playing the possible OPTIONAL position.
Optional Position
RECAP!
This exercise deals with (1) a refresher on a few of the chords we've learned as well as (2) an introduction
from Major to minor.
Strumming Exercise 1:
Here just play the chords as you see them. I played through this twice.
Dm.......................Em.....................Am...................F.....................
Strumming Exercise 2:
Here is the Major to minor strumming practice, which continues through TWO slash sheets. Note: You
will run into an E Major chord even though we haven't addressed it yet. If you are unfamiliar with the E
Major chord, just add your 1st finger to the first fret of the A string upon prompting.
Dm.......................Em.....................A........................Am.................
D..........................Dm.....................Em.....................E......................
Applying Fingerstyle To The A Major Chord
CHALLENGE! No fingerings are provided for the picking hand this time. We need to see how well you
can decide for yourself how to use your picking hand. Since these two exercises are rather easy you should
be able to do it. If not, let me know and I will give you the fingerings.
Exercise 1
Exercise 2
Week 2 - Day 4: The E Major Chord
The E Major chord looks like this:
In this chord, the fretted notes include the notes E, B, and Ab (G#). In other words, we need
these three notes to form the triad(three) or chord of E Major.
There is no real logical way to change the finger positionings for the E chord. You basically play it as you
see it.
Slash Sheet Exercise:
We are now playing this exercise at 95 bpm.
Simply practice playing the E Major chord four times each measure. Once you are able to play that easily,
we can then check out different LOGICAL areas in which we can play an E Major chord on the fretboard.
Now we need to look at the fretboard for logical areas in which the E, B and Ab (G#) appear.
Optional Position (A Style)
This position is a standard E Major barre chord played as
an A Style barre chord.
You could create a power chord from this by simply
playing just the A string E note on the seventh fret, the D
string B note on the ninth fret, and if you would like to
double the octave of the root, play the E note on the G
string at the ninth fret as well. This would be an E5 power
chord.
Remember that with power chords there is no such thing
as a minor.
Before We Apply Fingerstyle...
We need to practice this possible position, so we need to revisit the slash sheet. This time, I'd like you to
practice through an entire bar (all four measures) playing the possible OPTIONAL position.
Optional Position
Since we've already strummed the E Major chord in a progression (Week 2 - Day 3) we just need to
address the fingerstyle idea.
Applying Fingerstyle To The E Major Chord
CHALLENGE! No fingerings are provided for the picking hand this time. We need to see how well you
can decide for yourself how to use your picking hand. Since these two exercises are rather easy you should
be able to do it. If not, let me know and I will give you the fingerings.
Exercise 1
Exercise 2
Fingerpicking hint: D and G string "9's" use thumb and 1st finger!
Week 2 - Day 5: The B Flat (Bb) Chord
The Bb chord looks like this:
In this chord, the fretted notes include the notes Bb, F and D. In other words, we need these three notes
to form the triad (three) or chord of Bb. As you already know, sharps and flats have dual names. That
means that the Bb chord is also called an A# chord.
While the chord you see above is one of the most common versions of the Bb chord, there are additional
ways to play this chord. You have probably gathered by now that I am not a fan of playing A Style barre
chords using the 1, 2, 3, 4, 1 method of fingering. For me it is ultra uncomfortable, so I almost always
create partials of the A Style barre chords. I will touch base on what we have learned so far and the way I
choose to play these chords. I must warn you - what you are about to see is 100% easier to do, but
unfortunately is frowned upon in a 'traditional' teaching sense.
Basically I play virtually every A Style barre chord as a barre chord without playing the High E string.
Here's what I mean:
These are just a few examples of the chords we've seen based on the A Style barre chord so far. Remember
that when I refer to an A Style barre chord, it means that the ROOT note of said chord is on the A string.
These chords are still named according to their root note. It just so happens that the root falls on the A
string. I choose to finger every one of these chords with either my 1st finger or thumb on the root note which are all on the A strings.
I then follow up with the rest of the notes with (1) either my 3rd finger on the D string and my 4th finger
on the G and B strings or (2) my 1st finger/thumb playing the A string notes and my 4th finger barring all
additional notes - omitting the high E string all together.
Do I lose any notes doing so? No actually I don't. The chord itself isn't quite as 'bright' as one may like, but
the note that is found on the D string (in the case of Bb it is an F note) is the same note that is found on
the high E string, which again I omit. For me it makes everything much easier, and allows me to quickly
play a given A Style barre chord without finger acrobatics. However, a traditional teacher will say this is
incorrect. For me, it's just right.
All of that being said - I am NOT trying to lead you astray. I just want you to understand that there are
'cheats' that you can use to work with right now. If you want to be technical you can go back and learn it
the right way. I think the term 'right' is relative here.
Slash Sheet Exercise:
We are now playing this exercise at 95 bpm.
Simply practice playing the Bb chord four times each measure. Once you are able to play that easily, we
can then check out different LOGICAL areas in which we can play a Bb chord on the fretboard.
Now we need to look at the fretboard for logical areas in which the Bb (A#), F, and D appear.
Optional Position (E Style)
This position is a standard Bb barre chord played as an E
Style barre chord. This is the one I highly recommend
playing unless you choose to play the original Bb (first
fret root on A string) in the way I showed you by omitting
the High E string. Again, it doesn't matter, and odds are
playing this E Style barre chord is a bit high (up in pitch)
on the neck if you were just playing a Dm (open) to Bb (E
Style barre) so you DO need to understand how to play a
Bb chord. I just think omitting the High E is MUCH
easier if playing the Bb with the root on the A string at
fret 1.
Before We Apply Fingerstyle...
We need to practice this possible position, so we need to revisit the slash sheet. This time, I'd like you to
practice through an entire bar (all four measures) playing the possible OPTIONAL position.
Optional Position
Did you find that this was much easier to play that the Bb on the first fret A string root? I sure do.
However, it won't always work without adjusting other chords found within the progression. Over the
weekend you will see a song that uses the Bb in a progression of Dm - C - Bb - C ("Somebody That I Used
To Know" by Gotye) so we'll reserve this chord in terms of strumming in a progression when that song is
available.
Applying Fingerstyle To The Bb Chord
CHALLENGE! No fingerings are provided for the picking hand this time. We need to see how well you
can decide for yourself how to use your picking hand. Since these two exercises are rather easy you should
be able to do it. If not, let me know and I will give you the fingerings. You may also feel free to omit the
high E string in the first exercise if you wish. I have given you two options for the first exercise.
Exercise 1
OR
Exercise 2
Fingerpicking hint: Thumb picks D string and 1st finger picks G string. The same applies with A string
and B string.