Ex­am­ple 4 Chang­ing Chord Types

Guitar Techniques - - Play Better Chords! -

EIn this ex­am­ple we ex­per­i­ment with chang­ing chord types, so that where we might nor­mally see a dom­i­nant chord ( V7) for ex­am­ple, in­stead we insert a dif­fer­ent chord type in­stead, like a Vm7. No­tice the ‘de­scend­ing’ pro­gres­sion start­ing from bar 5 (Gmaj7- G7- G6), where we go through dif­fer­ent types of G chords. This is a clas­sic move, and part of the rea­son it works so well is the un­der­ly­ing chro­mat­i­cally de­scend­ing move­ment of the ma­jor 7th (F#), to the dom­i­nant 7th (F), to the 6th (E) - this is of course known as voice leading. For the C13 shape in bar 8, use your third fin­ger on the sixth string, fourth fin­ger on the fourth string, sec­ond on the third and fi­nally use the first fin­ger to barre your two top strings. In bar 9-10 we have a clear ex­am­ple of a lovely ear-pleas­ing phe­nom­e­non called ‘mo­dal in­ter­change’. This means that al­though we are in G ma­jor, we are play­ing chords (Cm7 and Cm9) - these are bor­rowed from a dif­fer­ent mode – Ae­o­lian mode – or in plain terms, from G mi­nor. The fi­nal four bars start with two 6/9 chords (a ma­jor and a mi­nor ver­sion). This chord type is com­mon in Latin mu­sic, like bossa nova, and al­most any An­to­nio Car­los Jo­bim song will con­tain it. The penul­ti­mate bar fea­tures an­other case of mo­dal in­ter­change, be­fore re­solv­ing on the root (Gmaj7).

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