Hi. This is John McClennan and with
guitarcontrol.com, bringing you this lesson.
Again, we’re expanding on our triad voicings
and we’re going to take the same fingerings
that we did in the previous lesson, but we’re
going to transfer them to another string and
get a whole new set of sounds.
Here’s our A chord and I’m going to
show you three positions that we’re going
to practice this exercise around. Fourth fret,
2nd fret, 2nd fret. There’s your A chord.
You see that part of it is almost like an A
chord you may know here, but now we’re just
putting the 4th fret and the bass down.
Then what I’m going to do is I’m going to
take this A chord and I’m going to invert it.
The next A chord that I’m going to play is
going to be this, and this just looks like
an E shape. Or you can also go like that
to this major chord. And then I’m going to
invert it again and I’m going to get 12, 11, 9.
So I’ve got these three positions again for
just an A triad. Learn those and be sure to
click the link below, because this has the tab.
Now we’re going to expand on this. We’re going
to go from the A to the D to the A to the E,
back to the A. So these are all just typical
chord movements that you’ll see in a key or
in a song that’s based around one major key.
So here we go. A moving to D, 5, 4, 2; back to A;
and the this is like an E shape, then back to A.
Inverted, A, here’s my D, A, D, A, all using
the same shapes. I’ll call out the frets to you,
7, 7, 6; 9, 7, 7 for the D; and then the E is
going to be 7, 6, 4. So all those together.
You just might want to say them, too. A, D, A, E, A.
Inverted up, A, D, A, E, A. You might just
discover some cool chords that you haven’t play.
Like when you go to that E there, that’s a cool
way of playing an E, and then back to A.
New voicings are always so inspiring to me.
You go whoa, my instrument hasn’t made
that sound before.
Anyway, click the link below; practice all
these movements, 1, 4, 1, 5; or A, D, A, E, A,
through each position that I showed you there
and we’ll be ready for the next lesson.
