Chords for Still Got The Blues Style Blues Guitar Lessons - Circle of 4ths Changes
Tempo:
105.35 bpm
Chords used:
F
D
Dm
G
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hi everybody, Griff Hamlin here from Blues Guitar Unleashed.
Thanks for joining me today.
In this video we're going to talk about
one of my absolute favorite songs in the world.
This is kind of a tribute to
a guitar player that we lost recently, Mr.
Gary Moore.
And I'm going to talk about his tune called Still Got The Blues,
which uses a really cool set of chords in
jazz circles, you might call these a circle of fourths.
It's not something you hear all the time in blues, although
it comes up a lot more in pop music actually than
anything else from what I've seen.
In this case, the tune is basically
in the key of A minor, and depending on how
theoretical you like to get with this, it's kind of in
C major and it's kind of in A minor.
I'm going to be
describing a little bit about both.
The changes start out with a
D minor [D] 7 chord.
[Dm] And the way that I'm
playing that is with my first finger, actually I would place my
middle finger first on the second fret
of the third string, and then my first
finger is going to bar across the first fret
on the first and second strings.
And I'm going to pluck
the open fourth string.
So when I play them all together
they sound like that.
[D] But in this case we're going to
arpeggiate it.
And this tune is in 6-8 time, so we're going to
have 6 eighth notes per
measure.
So it's going to go something like 1
[Dm] 2 3 4 5 6
and you're going to have that 1 2
3 2 2 3.
It's going to be two groups of three.
And we're going to get that kind of 6-8 pulse.
So what [C] I'm doing is I'm doing [D] fourth string, third [Dm] string,
second string, first, second, third.
And you'll notice I'm doing down picks when I'm
moving my arm down, and up picks when I'm moving my
arm up.
Now the next chord is actually
the same on top.
[F#] Technically speaking, you'd probably call this next chord
a G11, or a G dominant
7 type of chord.
I often see it written
[Dm] as D minor 7 over G
which is D minor 7 slash G.
And what that
means is that we're going to take this same
D minor 7 chord on top and put it [F] over
a G bass, [G] which I can get
with my third finger down here on the third fret of the
sixth string.
[F] And so now my bass note is
really all that's changed.
And I'm still going to do the same
arpeggio pattern.
So I'm still [G] going to do
[G] [F] like that.
So, so far I [D] have [Dm] D minor 7
[F] I'm going to call it [G] G11.
[F]
And the next
chord is a C major 7.
[D] Now from a
theory standpoint, I've so far done 2
and 5 in the key of C, which is a really common
chord progression.
[Dm] [F]
And I'm going to go to [C] a C major 7
which is basically just open C
without your first finger.
[Em] And so I'm going to hit the
[C] bass note, the fifth string, and then I'm going to skip the fourth
string with my arpeggio.
One more time.
And now I'm going to do the F
major 7.
So if C was [F] 1, F major
becomes 4.
Now the reason they call this a circle
of fifths is because, or a circle of fourths, I'm sorry
is because from D minor to G
is the interval of a fourth.
From G to C is the
interval of a fourth.
From C to F is the interval
of a fourth.
From F to B, which is the next chord, is going to
be a fourth.
And from B to E, which is going to be the next chord, is
going to be a fourth.
So we just keep moving in fourths.
So this F major 7
[E] is
third finger on the third fret of the fourth string
middle finger on the second fret of the third
string, first finger on the first fret
of the second string, open first string.
So my
arpeggio is [F] going to be fourth, string, third
second, first, second
third.
So notice I've always got six notes.
[D] To be honest, it doesn't always matter what those
six notes are.
If you mix it up a little bit, it's really
no big deal as long as you get six of them.
So so far we have
D minor 7, [Dm] [G] G11
[F]
[C] C major 7, F major [F] 7
Now we have a chord called B minor 7
flat 5.
This is the 7 chord
in a major key.
[B] Again, it's up a fourth from F.
So we
have my middle finger on
the second fret of the fifth string
my third finger is on the second fret of the third
string.
I'm going to mute out the fourth string.
I'm not going to use it.
My middle finger takes care of that.
I don't really have to
think about it.
My pinky is on the third
fret of the second string.
My index finger
is on the first fret of the first string.
So I'm going to pluck
fifth, [Bm] third, second
[B]
first, second, third.
And then I'm going to go to just a [E] basic E chord.
Now on this one again, I'm going to strike the low E
as my first, then third, second
and first.
Third, second, then one, two
three.
So there's my six.
One, two
three, four, five, six.
And then to [A] A minor.
[Am] And you can kind of pluck these
however you want.
You can do like five, three
two, one, two, three or
five, four, three, one, two, three
It's not all that important.
So the whole
thing all together.
D [D] minor seven
[Dm]
[G] G11, [F] C [C] major seven
F major [F] seven, E minor
[Bm] seven flat five, [B] E [E] seven
or E, A [A] minor seven
or A minor.
[Am]
And that's pretty much the whole thing.
There are occasional variations.
For example
the chorus section of Still Got the Blues
anyway, goes from A minor [Em] to E
minor, [Am] back to A minor and up [D] to a
[F#] D9.
So if you don't know D9, it's
[D] my middle finger is on the D
on the fifth fret of [F#] the fifth string.
My index
finger is on the fourth fret of the fourth [Am] string.
My third
finger lays across the fifth fret
on the third, second and first [F#] strings.
And then it just slides up three frets [D#] to [Cm] F
nine and it ends on an [D] E7
sharp nine, which is commonly called the Hendrix chord.
[E] And it's my middle finger here
on the E at the seventh fret of the fifth [G#] string.
My first finger [E] is on the sixth fret of the fourth [D] string.
My third finger goes on the seventh fret
[G] of the third string and my pinky on the eighth fret
[D] of the second string.
And then back [Am] to A minor
or A minor, however [E] you want to play it.
Most of these chords, you don't have to play this way.
There's definitely more than one way to play them.
[Dm] For example, if you prefer D minor 7 as a bar,
you can certainly do that.
[G] I often play G11
[F] like this and I leave out the top
string.
Instead, I put an F down there with [G] my
pinky.
[F] I'll sometimes [C] play C major 7
with a bar [F] and F major 7
like that or sometimes like this if you're familiar with these voicings.
[B] There's just a lot of different options.
[E] You can play E7
up here.
You can play B minor [Dm] 7 flat 5.
[F] Any voicing [F#] will work
in general on that [B] recording.
By the way, Europa
by Santana is another good example of this.
It's almost the same set of changes.
As are,
oddly enough, I Will Survive by Gloria Gaynor.
The disco tune.
Same tune, same changes.
Really bizarre but true nonetheless.
These changes are commonly called a circle of force.
They're a great way to write a tune.
There's a lot of cool melodies and a lot of cool ideas and stuff you can do from them.
I hope you enjoy this and can get
something out of it.
We'll talk soon.
Thanks for joining me today.
In this video we're going to talk about
one of my absolute favorite songs in the world.
This is kind of a tribute to
a guitar player that we lost recently, Mr.
Gary Moore.
And I'm going to talk about his tune called Still Got The Blues,
which uses a really cool set of chords in
jazz circles, you might call these a circle of fourths.
It's not something you hear all the time in blues, although
it comes up a lot more in pop music actually than
anything else from what I've seen.
In this case, the tune is basically
in the key of A minor, and depending on how
theoretical you like to get with this, it's kind of in
C major and it's kind of in A minor.
I'm going to be
describing a little bit about both.
The changes start out with a
D minor [D] 7 chord.
[Dm] And the way that I'm
playing that is with my first finger, actually I would place my
middle finger first on the second fret
of the third string, and then my first
finger is going to bar across the first fret
on the first and second strings.
And I'm going to pluck
the open fourth string.
So when I play them all together
they sound like that.
[D] But in this case we're going to
arpeggiate it.
And this tune is in 6-8 time, so we're going to
have 6 eighth notes per
measure.
So it's going to go something like 1
[Dm] 2 3 4 5 6
and you're going to have that 1 2
3 2 2 3.
It's going to be two groups of three.
And we're going to get that kind of 6-8 pulse.
So what [C] I'm doing is I'm doing [D] fourth string, third [Dm] string,
second string, first, second, third.
And you'll notice I'm doing down picks when I'm
moving my arm down, and up picks when I'm moving my
arm up.
Now the next chord is actually
the same on top.
[F#] Technically speaking, you'd probably call this next chord
a G11, or a G dominant
7 type of chord.
I often see it written
[Dm] as D minor 7 over G
which is D minor 7 slash G.
And what that
means is that we're going to take this same
D minor 7 chord on top and put it [F] over
a G bass, [G] which I can get
with my third finger down here on the third fret of the
sixth string.
[F] And so now my bass note is
really all that's changed.
And I'm still going to do the same
arpeggio pattern.
So I'm still [G] going to do
[G] [F] like that.
So, so far I [D] have [Dm] D minor 7
[F] I'm going to call it [G] G11.
[F]
And the next
chord is a C major 7.
[D] Now from a
theory standpoint, I've so far done 2
and 5 in the key of C, which is a really common
chord progression.
[Dm] [F]
And I'm going to go to [C] a C major 7
which is basically just open C
without your first finger.
[Em] And so I'm going to hit the
[C] bass note, the fifth string, and then I'm going to skip the fourth
string with my arpeggio.
One more time.
And now I'm going to do the F
major 7.
So if C was [F] 1, F major
becomes 4.
Now the reason they call this a circle
of fifths is because, or a circle of fourths, I'm sorry
is because from D minor to G
is the interval of a fourth.
From G to C is the
interval of a fourth.
From C to F is the interval
of a fourth.
From F to B, which is the next chord, is going to
be a fourth.
And from B to E, which is going to be the next chord, is
going to be a fourth.
So we just keep moving in fourths.
So this F major 7
[E] is
third finger on the third fret of the fourth string
middle finger on the second fret of the third
string, first finger on the first fret
of the second string, open first string.
So my
arpeggio is [F] going to be fourth, string, third
second, first, second
third.
So notice I've always got six notes.
[D] To be honest, it doesn't always matter what those
six notes are.
If you mix it up a little bit, it's really
no big deal as long as you get six of them.
So so far we have
D minor 7, [Dm] [G] G11
[F]
[C] C major 7, F major [F] 7
Now we have a chord called B minor 7
flat 5.
This is the 7 chord
in a major key.
[B] Again, it's up a fourth from F.
So we
have my middle finger on
the second fret of the fifth string
my third finger is on the second fret of the third
string.
I'm going to mute out the fourth string.
I'm not going to use it.
My middle finger takes care of that.
I don't really have to
think about it.
My pinky is on the third
fret of the second string.
My index finger
is on the first fret of the first string.
So I'm going to pluck
fifth, [Bm] third, second
[B]
first, second, third.
And then I'm going to go to just a [E] basic E chord.
Now on this one again, I'm going to strike the low E
as my first, then third, second
and first.
Third, second, then one, two
three.
So there's my six.
One, two
three, four, five, six.
And then to [A] A minor.
[Am] And you can kind of pluck these
however you want.
You can do like five, three
two, one, two, three or
five, four, three, one, two, three
It's not all that important.
So the whole
thing all together.
D [D] minor seven
[Dm]
[G] G11, [F] C [C] major seven
F major [F] seven, E minor
[Bm] seven flat five, [B] E [E] seven
or E, A [A] minor seven
or A minor.
[Am]
And that's pretty much the whole thing.
There are occasional variations.
For example
the chorus section of Still Got the Blues
anyway, goes from A minor [Em] to E
minor, [Am] back to A minor and up [D] to a
[F#] D9.
So if you don't know D9, it's
[D] my middle finger is on the D
on the fifth fret of [F#] the fifth string.
My index
finger is on the fourth fret of the fourth [Am] string.
My third
finger lays across the fifth fret
on the third, second and first [F#] strings.
And then it just slides up three frets [D#] to [Cm] F
nine and it ends on an [D] E7
sharp nine, which is commonly called the Hendrix chord.
[E] And it's my middle finger here
on the E at the seventh fret of the fifth [G#] string.
My first finger [E] is on the sixth fret of the fourth [D] string.
My third finger goes on the seventh fret
[G] of the third string and my pinky on the eighth fret
[D] of the second string.
And then back [Am] to A minor
or A minor, however [E] you want to play it.
Most of these chords, you don't have to play this way.
There's definitely more than one way to play them.
[Dm] For example, if you prefer D minor 7 as a bar,
you can certainly do that.
[G] I often play G11
[F] like this and I leave out the top
string.
Instead, I put an F down there with [G] my
pinky.
[F] I'll sometimes [C] play C major 7
with a bar [F] and F major 7
like that or sometimes like this if you're familiar with these voicings.
[B] There's just a lot of different options.
[E] You can play E7
up here.
You can play B minor [Dm] 7 flat 5.
[F] Any voicing [F#] will work
in general on that [B] recording.
By the way, Europa
by Santana is another good example of this.
It's almost the same set of changes.
As are,
oddly enough, I Will Survive by Gloria Gaynor.
The disco tune.
Same tune, same changes.
Really bizarre but true nonetheless.
These changes are commonly called a circle of force.
They're a great way to write a tune.
There's a lot of cool melodies and a lot of cool ideas and stuff you can do from them.
I hope you enjoy this and can get
something out of it.
We'll talk soon.
Key:
F
D
Dm
G
E
F
D
Dm
Hi everybody, Griff Hamlin here from Blues Guitar Unleashed.
Thanks for joining me today.
In this video we're going to talk about
one of my absolute favorite songs in the world.
This is kind of a tribute to
a guitar player that we lost recently, Mr.
Gary Moore.
And I'm going to talk about his tune called Still Got The Blues,
which uses a really cool set of chords in
jazz circles, you might call these a circle of fourths.
It's not something you hear all the time in blues, although
it comes up a lot more in pop music actually than
anything else from what I've seen. _
_ In this case, the tune is basically
in the key of A minor, and depending on how
theoretical you like to get with this, it's kind of in
C major and it's kind of in A minor.
I'm going to be
describing a little bit about both.
The changes start out with a
D minor [D] 7 chord. _ _ _
[Dm] _ _ _ And the way that I'm
playing that is with my first finger, actually I would place my
middle finger first on the second fret
of the third string, _ and then my first
finger is going to bar across the first fret
on the first and second strings.
And I'm going to pluck
the open fourth string.
_ So when I play them all together
they sound like that.
[D] But in this case we're going to
arpeggiate it.
And this tune is in 6-8 time, so we're going to
have 6 eighth notes per
measure.
So it's going to go something like 1
[Dm] 2 3 4 5 6
and you're going to have that 1 2
3 2 2 3.
It's going to be two groups of three.
And we're going to get that kind of 6-8 pulse.
_ _ _ _ _ _ So what [C] I'm doing is I'm doing [D] fourth string, third [Dm] string,
second string, first, second, third.
And you'll notice I'm doing down picks when I'm
moving my arm down, and up picks when I'm moving my
arm up. _
_ _ _ Now the next chord is actually
the same on top.
_ [F#] Technically speaking, you'd probably call this next chord
a G11, or a G dominant
7 type of chord.
I often see it written
[Dm] as D minor 7 over G
which is D minor 7 slash G.
And what that
means is that we're going to take this same
D minor 7 chord on top and put it [F] over
a G bass, [G] which I can get
with my third finger down here on the third fret of the
sixth string. _ _
_ [F] _ _ And so now my bass note is
really all that's changed.
And I'm still going to do the same
arpeggio pattern.
So I'm still [G] going to do _
[G] _ [F] _ _ _ like that.
So, so far I [D] have [Dm] D minor 7
_ [F] I'm going to call it [G] G11.
_ _ [F] _ _ _ _
And the next
chord is a C major 7.
[D] Now from a
theory standpoint, I've so far done 2
and 5 in the key of C, which is a really common
chord progression.
[Dm] _ _ [F] _ _ _
And I'm going to go to [C] a C major 7
which is basically just open C
without your first finger.
_ _ [Em] And so I'm going to hit the
[C] bass note, the fifth string, and then I'm going to skip the fourth
string with my arpeggio.
_ _ _ _ _ _ One more time. _ _ _ _ _ _
And now I'm going to do the F
major 7.
So if C was [F] 1, F major
becomes 4.
Now the reason they call this a circle
of fifths is because, or a circle of fourths, I'm sorry
is because from D minor to G
is the interval of a fourth.
From G to C is the
interval of a fourth.
From C to F is the interval
of a fourth.
From F to B, which is the next chord, is going to
be a fourth.
And from B to E, which is going to be the next chord, is
going to be a fourth.
So we just keep moving in fourths.
So this F major 7 _
[E] is
third finger on the third fret of the fourth string
middle finger on the second fret of the third
string, first finger on the first fret
of the second string, open first string.
So my
arpeggio is [F] going to be fourth, string, third
second, _ first, second
third.
_ _ So notice I've always got six notes. _ _ _ _
[D] To be honest, it doesn't always matter what those
six notes are.
If you mix it up a little bit, it's really
no big deal as long as you get six of them.
So so far we have
D minor 7, [Dm] _ _ _ [G] G11
[F] _ _
[C] C major 7, F major [F] 7 _ _
_ _ Now we have a chord called B minor 7
flat 5.
This is the 7 chord
in a major key.
[B] _ Again, it's up a fourth from F.
So we
have my middle finger on
the second fret of the fifth string
my third finger is on the second fret of the third
string.
I'm going to mute out the fourth string.
I'm not going to use it.
My middle finger takes care of that.
I don't really have to
think about it.
My pinky is on the third
fret of the second string.
My index finger
is on the first fret of the first string.
So I'm going to pluck
fifth, [Bm] third, second
[B] _
first, second, third. _ _ _ _ _
_ _ And then I'm going to go to just a [E] basic E chord. _
_ _ Now on this one again, I'm going to strike the low E
as my first, then third, second
and first.
Third, second, then one, two
three.
So there's my six.
One, two
three, four, five, six.
_ And then to [A] A minor.
_ _ _ _ [Am] _ And you can kind of pluck these
however you want.
You can do like five, three
two, one, two, three or
five, four, three, one, two, three
It's not all that important.
So the whole
thing all together.
D [D] minor seven
_ [Dm] _ _ _
[G] G11, _ _ [F] _ C [C] major seven
_ F major [F] seven, _ _ _ E minor
[Bm] seven flat five, _ [B] _ E [E] seven
or E, _ A [A] minor seven
or A minor.
_ [Am] _ _ _ _ _
And that's pretty much the whole thing.
There are occasional variations.
For example
the chorus section of Still Got the Blues
anyway, goes from A minor [Em] to E
minor, [Am] back to A minor and up [D] to a
[F#] D9.
_ _ So if you don't know D9, it's
[D] my middle finger is on the D
on the fifth fret of [F#] the fifth string.
_ My index
finger is on the fourth fret of the fourth [Am] string.
My third
finger lays across the fifth fret
on the third, second and first [F#] strings.
_ And then it just slides up three frets [D#] to [Cm] _ _ F
nine and it ends on an [D] E7
sharp nine, which is commonly called the Hendrix chord.
[E] And it's my middle finger here
on the E at the seventh fret of the fifth [G#] string.
_ My first finger [E] is on the sixth fret of the fourth [D] string.
My third finger goes on the seventh fret
[G] of the third string and my pinky on the eighth fret
[D] of the second string. _ _
And then back [Am] to A minor
_ _ or A minor, however [E] you want to play it.
Most of these chords, you don't have to play this way.
There's definitely more than one way to play them.
[Dm] For example, if you prefer D minor 7 as a bar,
you can certainly do that.
[G] I often play G11
[F] like this and I leave out the top
string.
Instead, I put an F down there with [G] my
pinky.
[F] _ I'll sometimes [C] play C major 7
with a bar _ _ [F] and F major 7
like that or sometimes like this if you're familiar with these voicings.
[B] There's just a lot of different options. _ _
[E] You can play E7
up here.
You can play B minor [Dm] 7 flat 5. _
[F] Any voicing [F#] will work
in general on that [B] recording.
By the way, Europa
by Santana is another good example of this.
It's almost the same set of changes.
As are,
oddly enough, I Will Survive by Gloria Gaynor.
The disco tune.
Same tune, same changes.
Really bizarre but true nonetheless.
_ These changes are commonly called a circle of force.
They're a great way to write a tune.
There's a lot of cool melodies and a lot of cool ideas and stuff you can do from them.
I hope you enjoy this and can get
something out of it.
We'll talk soon. _ _ _ _
_ _ _ _ _ _ _ _
Thanks for joining me today.
In this video we're going to talk about
one of my absolute favorite songs in the world.
This is kind of a tribute to
a guitar player that we lost recently, Mr.
Gary Moore.
And I'm going to talk about his tune called Still Got The Blues,
which uses a really cool set of chords in
jazz circles, you might call these a circle of fourths.
It's not something you hear all the time in blues, although
it comes up a lot more in pop music actually than
anything else from what I've seen. _
_ In this case, the tune is basically
in the key of A minor, and depending on how
theoretical you like to get with this, it's kind of in
C major and it's kind of in A minor.
I'm going to be
describing a little bit about both.
The changes start out with a
D minor [D] 7 chord. _ _ _
[Dm] _ _ _ And the way that I'm
playing that is with my first finger, actually I would place my
middle finger first on the second fret
of the third string, _ and then my first
finger is going to bar across the first fret
on the first and second strings.
And I'm going to pluck
the open fourth string.
_ So when I play them all together
they sound like that.
[D] But in this case we're going to
arpeggiate it.
And this tune is in 6-8 time, so we're going to
have 6 eighth notes per
measure.
So it's going to go something like 1
[Dm] 2 3 4 5 6
and you're going to have that 1 2
3 2 2 3.
It's going to be two groups of three.
And we're going to get that kind of 6-8 pulse.
_ _ _ _ _ _ So what [C] I'm doing is I'm doing [D] fourth string, third [Dm] string,
second string, first, second, third.
And you'll notice I'm doing down picks when I'm
moving my arm down, and up picks when I'm moving my
arm up. _
_ _ _ Now the next chord is actually
the same on top.
_ [F#] Technically speaking, you'd probably call this next chord
a G11, or a G dominant
7 type of chord.
I often see it written
[Dm] as D minor 7 over G
which is D minor 7 slash G.
And what that
means is that we're going to take this same
D minor 7 chord on top and put it [F] over
a G bass, [G] which I can get
with my third finger down here on the third fret of the
sixth string. _ _
_ [F] _ _ And so now my bass note is
really all that's changed.
And I'm still going to do the same
arpeggio pattern.
So I'm still [G] going to do _
[G] _ [F] _ _ _ like that.
So, so far I [D] have [Dm] D minor 7
_ [F] I'm going to call it [G] G11.
_ _ [F] _ _ _ _
And the next
chord is a C major 7.
[D] Now from a
theory standpoint, I've so far done 2
and 5 in the key of C, which is a really common
chord progression.
[Dm] _ _ [F] _ _ _
And I'm going to go to [C] a C major 7
which is basically just open C
without your first finger.
_ _ [Em] And so I'm going to hit the
[C] bass note, the fifth string, and then I'm going to skip the fourth
string with my arpeggio.
_ _ _ _ _ _ One more time. _ _ _ _ _ _
And now I'm going to do the F
major 7.
So if C was [F] 1, F major
becomes 4.
Now the reason they call this a circle
of fifths is because, or a circle of fourths, I'm sorry
is because from D minor to G
is the interval of a fourth.
From G to C is the
interval of a fourth.
From C to F is the interval
of a fourth.
From F to B, which is the next chord, is going to
be a fourth.
And from B to E, which is going to be the next chord, is
going to be a fourth.
So we just keep moving in fourths.
So this F major 7 _
[E] is
third finger on the third fret of the fourth string
middle finger on the second fret of the third
string, first finger on the first fret
of the second string, open first string.
So my
arpeggio is [F] going to be fourth, string, third
second, _ first, second
third.
_ _ So notice I've always got six notes. _ _ _ _
[D] To be honest, it doesn't always matter what those
six notes are.
If you mix it up a little bit, it's really
no big deal as long as you get six of them.
So so far we have
D minor 7, [Dm] _ _ _ [G] G11
[F] _ _
[C] C major 7, F major [F] 7 _ _
_ _ Now we have a chord called B minor 7
flat 5.
This is the 7 chord
in a major key.
[B] _ Again, it's up a fourth from F.
So we
have my middle finger on
the second fret of the fifth string
my third finger is on the second fret of the third
string.
I'm going to mute out the fourth string.
I'm not going to use it.
My middle finger takes care of that.
I don't really have to
think about it.
My pinky is on the third
fret of the second string.
My index finger
is on the first fret of the first string.
So I'm going to pluck
fifth, [Bm] third, second
[B] _
first, second, third. _ _ _ _ _
_ _ And then I'm going to go to just a [E] basic E chord. _
_ _ Now on this one again, I'm going to strike the low E
as my first, then third, second
and first.
Third, second, then one, two
three.
So there's my six.
One, two
three, four, five, six.
_ And then to [A] A minor.
_ _ _ _ [Am] _ And you can kind of pluck these
however you want.
You can do like five, three
two, one, two, three or
five, four, three, one, two, three
It's not all that important.
So the whole
thing all together.
D [D] minor seven
_ [Dm] _ _ _
[G] G11, _ _ [F] _ C [C] major seven
_ F major [F] seven, _ _ _ E minor
[Bm] seven flat five, _ [B] _ E [E] seven
or E, _ A [A] minor seven
or A minor.
_ [Am] _ _ _ _ _
And that's pretty much the whole thing.
There are occasional variations.
For example
the chorus section of Still Got the Blues
anyway, goes from A minor [Em] to E
minor, [Am] back to A minor and up [D] to a
[F#] D9.
_ _ So if you don't know D9, it's
[D] my middle finger is on the D
on the fifth fret of [F#] the fifth string.
_ My index
finger is on the fourth fret of the fourth [Am] string.
My third
finger lays across the fifth fret
on the third, second and first [F#] strings.
_ And then it just slides up three frets [D#] to [Cm] _ _ F
nine and it ends on an [D] E7
sharp nine, which is commonly called the Hendrix chord.
[E] And it's my middle finger here
on the E at the seventh fret of the fifth [G#] string.
_ My first finger [E] is on the sixth fret of the fourth [D] string.
My third finger goes on the seventh fret
[G] of the third string and my pinky on the eighth fret
[D] of the second string. _ _
And then back [Am] to A minor
_ _ or A minor, however [E] you want to play it.
Most of these chords, you don't have to play this way.
There's definitely more than one way to play them.
[Dm] For example, if you prefer D minor 7 as a bar,
you can certainly do that.
[G] I often play G11
[F] like this and I leave out the top
string.
Instead, I put an F down there with [G] my
pinky.
[F] _ I'll sometimes [C] play C major 7
with a bar _ _ [F] and F major 7
like that or sometimes like this if you're familiar with these voicings.
[B] There's just a lot of different options. _ _
[E] You can play E7
up here.
You can play B minor [Dm] 7 flat 5. _
[F] Any voicing [F#] will work
in general on that [B] recording.
By the way, Europa
by Santana is another good example of this.
It's almost the same set of changes.
As are,
oddly enough, I Will Survive by Gloria Gaynor.
The disco tune.
Same tune, same changes.
Really bizarre but true nonetheless.
_ These changes are commonly called a circle of force.
They're a great way to write a tune.
There's a lot of cool melodies and a lot of cool ideas and stuff you can do from them.
I hope you enjoy this and can get
something out of it.
We'll talk soon. _ _ _ _
_ _ _ _ _ _ _ _