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Building Chords - Ch. 2 | Part 2 (Outer String Chords) (Patreon)

Published:
2023-02-06 22:00:03
Imported:
2026-06
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  • Building Chords - Ch .2 - Part 2 (Outer String Chords).mp3

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Content

E - A - (D - G - B) - E strings

We go over an extremely common and great tool that comes from these small chord inversions. Simply removing the middle note of the chords gives us these little "pieces" of chords, or implied chords, that have endless uses.

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Building Chords - Ch. 2 | Part 2 - Outer String Chords

We go over an extremely common and great tool that comes from these small chord inversions. Simply removing the middle note of the chords gives us these little "pieces" of chords, or implied chords, that have endless uses. Intro (0:00) Outer String Shapes (0:50) Picking Them (3:29) Alternate Fingerings (4:16) Moving Vertically (7:07) Playing Like a Lead (9:14) How To Think About These (11:23) Combining Positions (13:09)

Comments

David Hallowell

These two lessons are very helpful. As you’ve said, there’s huge power in sparsity - and it’s mostly overlooked. Sound wise, these sparse shell chord fragments are refreshing to the ear, and they leave room for interweaving melodic movement that would be less available with full chords in the way. Fretboard navigation wise, two notes make you really think about the components of the chord voicing. Learning traditional chords skips over that step, leaving you weaker when it comes to true navigation and improvising. Interestingly this relates to my experience accompanying traditional Irish music…there’s more a sense of the right few notes (often just 2) that support the melody without cluttering things up. The idea of ‘whole chords’ isn’t part of the real tradition. Thanks for your great work.

LoG's Guitar Extravaganza
>>101652441

Glad you think so! These shapes are quite valuable and like you said, often more valuable than the normal "full chord" shapes in the right situation. Perfect for larger arrangements when you don't want to step on toes or if you're playing a more involved passage and still want a chord sound.

David Hallowell
>>101652441

Here’s another thing that fits with the sparse chord fragments. Along the lines of your Left Ctr Right, I like to take a scale tone and practice, what’s the 3 note pattern where the scale tone is the highest note (left), the center note, and the lowest note (right)? Each of your chord fragments provides a chance to be on two scale tones..so..on each of those tones, play the left, center, right 3 notes in that neighborhood. As you know, if you do that for awhile, you get used to what it’s like around the root, 3, and 5, and those things connect to become about the whole scale. Do that for major, minor, and the most useful modes, and things start to gel. You have tapped into a great way of sparking learning. Thx again.

LoG's Guitar Extravaganza
>>101652441

Absolutely. At the end of the day the goal is to look at the fretboard as simply a collection of notes. Chords and "scales" are one in the same, just notes that you can combine in whatever way you please. Tactics like the one you're describing are great for this.