Chords for Altered Guitar Chords A Shape Part 1 Major & 7th Chord Substitutions
Tempo:
115.7 bpm
Chords used:
C
Bb
F
B
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C] [F]
Hi there, this lesson we [Bb] are going to talk about altering chords within the A shape.
We have already done this with the E shape and I recommend everybody start with that.
Now what we are going to do is take the A shape and we are going to do the same process.
But let's reiterate on a couple of things.
Number one, where do these chords come from?
All the seventh, flat five, sharp five, flat nines, all that stuff.
What's the point of all that stuff?
Well, here's where it comes from.
Melody, chromatic melody especially, weaving through a chord.
The [C] sound of this top note, and [Gm] then this second [Bb] note, [D] and then this.
[G] We are getting that, we are also getting this [F] in the bottom note.
[Ab] Now
[B] what we've got there is melody moving through a chord.
Every time a melody moves through a chord, now if we stack that chord up and look at
that with the melody note, now it becomes a chord in itself.
Sharp nine, sharp five, whatever.
Flat five, all of the altered sounds.
So that's where these chords come from and if you've ever played in a big band, you'll
hear the chords, they'll be written out for you on a guitar, but you'll hear the movement
of the melody maybe in the sax section or the trombone section or something like that.
You can hear the melody [N] moving through the chord basically and it's creating these chord
shapes or these chord sounds.
That brings us to the components of a chord.
What makes up a chord?
There's two components to a chord and that's quality and quantity.
Quantity is how the voices stack up.
For instance, in an A shape, [A] if I have my A chord, [A] if you remember from the [C] Cage videos,
here's a C chord, right?
[Bb] The characteristics of a C shape [C] are the root on the fifth string and the root on the third string.
[C] So, now, that doesn't mean that [Cm] every chord [E] within the A shape has to contain those notes,
but it's in this general vicinity of the guitar.
[B] Now, the quantity of the chord is made up [C] of root five, root three, and if I put it
up here, I've got another five.
So, that is the quantity of the chord and it produces a certain sound quality.
[G] Just like minor now is root five, root flat three, five, [Cm] and that has a certain quality of sound.
[Bb] So, that's what we're going to be working with.
Now, what I want to do is I'm going to show you like in two parts.
Part one is going to be major chords and dominant seventh chords and or substitutions.
Okay?
All of them are [Bb] substitutions, generally speaking.
And part two [B] is going to be minor sounds.
And so, there's so many chords we have to divide it up that way.
There's about 38 examples of new chords.
Now, when I say that to you, hey, you want to learn 38 new chords?
It's like, what?
Are you kidding?
Oh, my gosh, I don't want to do that.
So, what [C]
I want to try to show you is how you can examine these chords and [Am]
once you
understand how they're all put [Bbm] together and what's going on with them, what they're called,
what kind of sound quality do they have, doesn't mean you necessarily have to memorize [C] these,
but it does mean that you're going to someday be able to sit down and take a chord shape,
find the fifth, find the third, find the ninth, [Bb] [B] the lowered third, the seventh, and build
the shape of the chord.
Build the chord on your own, okay?
So, that's really important [G] that I want you to do.
I want you to [C] understand [Bb] the quantity makeup of a chord so that you're able to just kind
of figure it out on your own.
Okay, but we're going to use all these examples and we're going to show you, I'm going to
show you the most common ones.
We'll highlight those.
Some of them aren't worth even messing with.
They're too hard.
Joe Pass says, hey, that's a nice chord.
How fast can you get to it?
So, we want to, within our toolbox, use chords that are doable and that we can pull out and
use to make [Gb] music.
That's the whole [C] goal, isn't it?
To take chords and be able to make music with them.
And the beauty of [C] these, all these altered chords, again, is the fact that you can, you
have melody moving [B] through.
Once was like C7 [F] moving to F.
Now, instead [C] of going [F] that [Am] kind of sound, we get this,
which is a kind of [Bm] a cooler [C] sound, isn't it?
[E] If I can grab it.
[F] Okay, so that's a neat sound.
Now, let's get started with some close-ups.
Don't be afraid of this.
Pull out the PDF.
You got a couple of pages there.
And let's get going with some close-ups.
Here we go.
[N]
Hi there, this lesson we [Bb] are going to talk about altering chords within the A shape.
We have already done this with the E shape and I recommend everybody start with that.
Now what we are going to do is take the A shape and we are going to do the same process.
But let's reiterate on a couple of things.
Number one, where do these chords come from?
All the seventh, flat five, sharp five, flat nines, all that stuff.
What's the point of all that stuff?
Well, here's where it comes from.
Melody, chromatic melody especially, weaving through a chord.
The [C] sound of this top note, and [Gm] then this second [Bb] note, [D] and then this.
[G] We are getting that, we are also getting this [F] in the bottom note.
[Ab] Now
[B] what we've got there is melody moving through a chord.
Every time a melody moves through a chord, now if we stack that chord up and look at
that with the melody note, now it becomes a chord in itself.
Sharp nine, sharp five, whatever.
Flat five, all of the altered sounds.
So that's where these chords come from and if you've ever played in a big band, you'll
hear the chords, they'll be written out for you on a guitar, but you'll hear the movement
of the melody maybe in the sax section or the trombone section or something like that.
You can hear the melody [N] moving through the chord basically and it's creating these chord
shapes or these chord sounds.
That brings us to the components of a chord.
What makes up a chord?
There's two components to a chord and that's quality and quantity.
Quantity is how the voices stack up.
For instance, in an A shape, [A] if I have my A chord, [A] if you remember from the [C] Cage videos,
here's a C chord, right?
[Bb] The characteristics of a C shape [C] are the root on the fifth string and the root on the third string.
[C] So, now, that doesn't mean that [Cm] every chord [E] within the A shape has to contain those notes,
but it's in this general vicinity of the guitar.
[B] Now, the quantity of the chord is made up [C] of root five, root three, and if I put it
up here, I've got another five.
So, that is the quantity of the chord and it produces a certain sound quality.
[G] Just like minor now is root five, root flat three, five, [Cm] and that has a certain quality of sound.
[Bb] So, that's what we're going to be working with.
Now, what I want to do is I'm going to show you like in two parts.
Part one is going to be major chords and dominant seventh chords and or substitutions.
Okay?
All of them are [Bb] substitutions, generally speaking.
And part two [B] is going to be minor sounds.
And so, there's so many chords we have to divide it up that way.
There's about 38 examples of new chords.
Now, when I say that to you, hey, you want to learn 38 new chords?
It's like, what?
Are you kidding?
Oh, my gosh, I don't want to do that.
So, what [C]
I want to try to show you is how you can examine these chords and [Am]
once you
understand how they're all put [Bbm] together and what's going on with them, what they're called,
what kind of sound quality do they have, doesn't mean you necessarily have to memorize [C] these,
but it does mean that you're going to someday be able to sit down and take a chord shape,
find the fifth, find the third, find the ninth, [Bb] [B] the lowered third, the seventh, and build
the shape of the chord.
Build the chord on your own, okay?
So, that's really important [G] that I want you to do.
I want you to [C] understand [Bb] the quantity makeup of a chord so that you're able to just kind
of figure it out on your own.
Okay, but we're going to use all these examples and we're going to show you, I'm going to
show you the most common ones.
We'll highlight those.
Some of them aren't worth even messing with.
They're too hard.
Joe Pass says, hey, that's a nice chord.
How fast can you get to it?
So, we want to, within our toolbox, use chords that are doable and that we can pull out and
use to make [Gb] music.
That's the whole [C] goal, isn't it?
To take chords and be able to make music with them.
And the beauty of [C] these, all these altered chords, again, is the fact that you can, you
have melody moving [B] through.
Once was like C7 [F] moving to F.
Now, instead [C] of going [F] that [Am] kind of sound, we get this,
which is a kind of [Bm] a cooler [C] sound, isn't it?
[E] If I can grab it.
[F] Okay, so that's a neat sound.
Now, let's get started with some close-ups.
Don't be afraid of this.
Pull out the PDF.
You got a couple of pages there.
And let's get going with some close-ups.
Here we go.
[N]
Key:
C
Bb
F
B
G
C
Bb
F
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[C] _ _ _ _ [F] _ _ _ _
Hi there, this lesson we [Bb] are going to talk about altering chords _ within the A shape.
We have already done this with the E shape and I recommend everybody start with that.
Now what we are going to do is take the A shape and we are going to do the same process.
But let's reiterate on a couple of things.
Number one, where do these chords come from?
All the seventh, flat five, sharp five, flat nines, all that stuff.
What's the point of all that stuff?
Well, here's where it comes from.
Melody, chromatic melody especially, weaving through a chord.
The [C] sound of this top note, _ _ _ and [Gm] then this second [Bb] note, _ _ [D] and then this.
_ [G] We are getting that, we are also getting this [F] _ in the bottom note.
[Ab] Now _
_ [B] what we've got there is melody moving through a chord.
Every time a melody moves through a chord, now if we stack that chord up and look at
that with the melody note, now it becomes a chord in itself.
Sharp nine, sharp five, whatever.
Flat five, _ _ all of the altered sounds.
So that's where these chords come from and if you've ever played in a big band, you'll
hear the chords, they'll be written out for you on a guitar, but you'll hear the movement
of the melody maybe in the sax section or the trombone section or something like that.
You can hear the melody [N] moving through the chord basically and it's creating these chord
shapes or these chord _ sounds.
That brings us to the _ _ _ _ components of a chord.
What makes up a chord?
There's two components to a chord and that's quality and quantity. _
Quantity is how the voices stack up.
For instance, in an A shape, [A] _ _ if I have my A chord, [A] if you remember from the [C] Cage videos,
_ _ here's a C chord, right?
[Bb] The _ _ _ characteristics of a C shape [C] are the root on the fifth string and the root on the _ _ third string.
[C] So, now, that doesn't mean that [Cm] every _ chord [E] _ within the A shape has to contain those notes,
but it's in this general vicinity of the guitar.
[B] Now, the quantity of the chord is made up [C] of root five, root three, and if I put it
up here, I've got another five.
So, that is the quantity of the chord and it produces a certain sound quality.
[G] Just like minor now is root five, root flat three, five, [Cm] _ and that has a certain quality of sound.
[Bb] _ So, that's what we're going to be working with.
_ Now, _ what I want to do is I'm going to show you like in two parts.
Part one is going to be major chords and dominant seventh chords and or substitutions. _
Okay?
All of them are [Bb] substitutions, _ _ generally speaking.
_ And part two [B] is going to be minor sounds.
_ And so, there's so many chords we have to divide it up that way.
There's about 38 examples of new chords.
Now, when I say that to you, hey, you want to learn 38 new chords?
It's like, what?
Are you kidding?
Oh, my gosh, I don't want to do that.
_ _ So, what [C] _
_ I want to try to show you is how you can examine these chords and [Am] _
once you
understand how they're all put [Bbm] together and what's going on with them, what they're called,
what kind of sound quality do they have, doesn't mean you necessarily have to memorize [C] these,
but it does mean that you're going to someday be able to sit down and take a chord shape,
find the fifth, find the third, find the _ ninth, [Bb] _ _ [B] the lowered third, the seventh, and build
the shape of the chord.
Build the chord on your own, okay? _
So, that's really important [G] that I want you to do.
I want you to [C] understand [Bb] the _ quantity makeup of a chord so that you're able to just kind
of figure it out on your own.
Okay, but we're going to use all these examples and we're going to show you, I'm going to
show you the most common ones. _
We'll highlight those.
Some of them aren't worth even messing with.
They're too hard.
Joe Pass says, hey, that's a nice chord.
How fast can you get to it? _ _
_ So, we want to, _ within our toolbox, use chords that are doable and that we can pull out and
use to make [Gb] music.
That's the whole [C] goal, isn't it?
To take chords and be able to make music with them.
And the beauty of [C] these, all these altered chords, again, is the fact that you can, _ you
have melody moving [B] through.
Once was like _ _ _ C7 [F] moving to F.
Now, instead [C] of going _ [F] that [Am] kind of sound, we get this,
which is a kind of [Bm] a cooler [C] sound, isn't it?
_ [E] If I can grab it.
[F] _ _ _ _ Okay, so that's a neat sound.
_ _ Now, let's get started with some close-ups.
Don't be afraid of this.
Pull out the PDF.
You got a couple of pages there.
And let's get going with some close-ups.
Here we go. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _
_ _ _ _ _ _ _ _
[C] _ _ _ _ [F] _ _ _ _
Hi there, this lesson we [Bb] are going to talk about altering chords _ within the A shape.
We have already done this with the E shape and I recommend everybody start with that.
Now what we are going to do is take the A shape and we are going to do the same process.
But let's reiterate on a couple of things.
Number one, where do these chords come from?
All the seventh, flat five, sharp five, flat nines, all that stuff.
What's the point of all that stuff?
Well, here's where it comes from.
Melody, chromatic melody especially, weaving through a chord.
The [C] sound of this top note, _ _ _ and [Gm] then this second [Bb] note, _ _ [D] and then this.
_ [G] We are getting that, we are also getting this [F] _ in the bottom note.
[Ab] Now _
_ [B] what we've got there is melody moving through a chord.
Every time a melody moves through a chord, now if we stack that chord up and look at
that with the melody note, now it becomes a chord in itself.
Sharp nine, sharp five, whatever.
Flat five, _ _ all of the altered sounds.
So that's where these chords come from and if you've ever played in a big band, you'll
hear the chords, they'll be written out for you on a guitar, but you'll hear the movement
of the melody maybe in the sax section or the trombone section or something like that.
You can hear the melody [N] moving through the chord basically and it's creating these chord
shapes or these chord _ sounds.
That brings us to the _ _ _ _ components of a chord.
What makes up a chord?
There's two components to a chord and that's quality and quantity. _
Quantity is how the voices stack up.
For instance, in an A shape, [A] _ _ if I have my A chord, [A] if you remember from the [C] Cage videos,
_ _ here's a C chord, right?
[Bb] The _ _ _ characteristics of a C shape [C] are the root on the fifth string and the root on the _ _ third string.
[C] So, now, that doesn't mean that [Cm] every _ chord [E] _ within the A shape has to contain those notes,
but it's in this general vicinity of the guitar.
[B] Now, the quantity of the chord is made up [C] of root five, root three, and if I put it
up here, I've got another five.
So, that is the quantity of the chord and it produces a certain sound quality.
[G] Just like minor now is root five, root flat three, five, [Cm] _ and that has a certain quality of sound.
[Bb] _ So, that's what we're going to be working with.
_ Now, _ what I want to do is I'm going to show you like in two parts.
Part one is going to be major chords and dominant seventh chords and or substitutions. _
Okay?
All of them are [Bb] substitutions, _ _ generally speaking.
_ And part two [B] is going to be minor sounds.
_ And so, there's so many chords we have to divide it up that way.
There's about 38 examples of new chords.
Now, when I say that to you, hey, you want to learn 38 new chords?
It's like, what?
Are you kidding?
Oh, my gosh, I don't want to do that.
_ _ So, what [C] _
_ I want to try to show you is how you can examine these chords and [Am] _
once you
understand how they're all put [Bbm] together and what's going on with them, what they're called,
what kind of sound quality do they have, doesn't mean you necessarily have to memorize [C] these,
but it does mean that you're going to someday be able to sit down and take a chord shape,
find the fifth, find the third, find the _ ninth, [Bb] _ _ [B] the lowered third, the seventh, and build
the shape of the chord.
Build the chord on your own, okay? _
So, that's really important [G] that I want you to do.
I want you to [C] understand [Bb] the _ quantity makeup of a chord so that you're able to just kind
of figure it out on your own.
Okay, but we're going to use all these examples and we're going to show you, I'm going to
show you the most common ones. _
We'll highlight those.
Some of them aren't worth even messing with.
They're too hard.
Joe Pass says, hey, that's a nice chord.
How fast can you get to it? _ _
_ So, we want to, _ within our toolbox, use chords that are doable and that we can pull out and
use to make [Gb] music.
That's the whole [C] goal, isn't it?
To take chords and be able to make music with them.
And the beauty of [C] these, all these altered chords, again, is the fact that you can, _ you
have melody moving [B] through.
Once was like _ _ _ C7 [F] moving to F.
Now, instead [C] of going _ [F] that [Am] kind of sound, we get this,
which is a kind of [Bm] a cooler [C] sound, isn't it?
_ [E] If I can grab it.
[F] _ _ _ _ Okay, so that's a neat sound.
_ _ Now, let's get started with some close-ups.
Don't be afraid of this.
Pull out the PDF.
You got a couple of pages there.
And let's get going with some close-ups.
Here we go. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _