Hi guys welcome back.
And in this lesson we're going to learn three new chord shapes now at this point of your guitar playing
career you're going to find a lot of new chords are going to suddenly get thrown at you.
Now the really good news is especially when you're learning open chords.
You've done a lot of work already working out how to change between open chords how to play the basic
shapes and everything else.
Now you're going to find as you go through a new kind of improving improve the actual learning of new
chords gets quicker and quicker and quicker to the point where sometimes even if you're just literally
about to play a song and there's a whole new chord in it you can play it once or twice and then you
can you know off you go play the song.
So you're saying this is kind of get used to moving around trying new shapes and only rarely do you
find chords you know as you move further and further up the neck.
That really still push you.
So hopefully today these chords this three chords that we're going to go through hopefully you'll pick
them up reasonably fast.
Now we're doing several course today and later on in the courses we actually talk in detail about different
types of seventh chords.
So I'm going to give you a very vague overall description of these calls and just learn the shapes.
OK.
So the shows we're going to be learning that we're going to be using in the song after this will be
a C major seven major seven and a dominant seven now and two basic chords.
We've got major sevens and dominant sounds and just before we enter any theory which is all covered
over in the theory section if you're really interested in the construction of these chords and how that
affects you know different musical styles.
Now the major sevens are just kind of light more airy more relaxed versions of major chords.
OK so here's a C major and C major 7 you know a bit more relaxed you a bit more jazzy maybe some people
might consider it as a sign for any major seventh chord.
That's the kind of rough sound that you're looking for.
With dominant seventh it's more of a unresolved sound.
So if you listen to this dominant seventh chord sounds like.
Still wants to go somewhere afterwards.
And this is a big reason why this is a huge part of blues and jazz music because you get tension.
You then release is so dominant so of course tend to provide a bit more tension a slightly more unresolved
sound.
And again can be a bit more jazzy bluesy sounding.
So let's just take you through the three coaches so a C major segment is a piece of cake.
Okay it's a C major chord.
And you just take away your first finger.
And that gives you the C Major 7.
So you've got your third finger on the string and your second finger on the second Fred the string and
then open G and open strings and all of that together gives you the C Major 7 chords.
You see that in a C Maj.
So a J 7 just short for major set.
And there's your first chord.
Now the F major 7 we've pretty much already done it.
When we looked at F because when we looked at F if you remember we did it with the bar called the little
mini bar there.
Or just a three.
No record.
Well if you do an F major 7 All You Need to do is take that three note chord.
And just play the opening string which gives it a major seventh no more.
So that was an absolute piece of cake because you already have done it basically.
Important thing to remember is that you're right.
No one ever made a servant is on the D string on the nef Knows a third fret alone.
Now let's look at the g7.
The g7 is this is a bit more friendly.
We're very much you spend.
So we have to totally redesign this call to the g-7.
So what I'm doing is I'm pulling my third finger on the third string second finger on the second string
and the over the strings.
All the way down to the high string way up of my first finger.
And the first fret of the string.
And that note there is the crucial note.
That's your seventh note.
So that could be a little bit of a stretch.
You've really got to work on that one to make sure that you get all nice clear in single strings now
and then.
And other ways to fret it as well.
You might prefer to kind of have a little bit of a play around you might like to use your little finger
just in case you struggle with the stretch.
But however you do it it needs to sound like.
So all we're going to do is have a little play around with those three chords to start with.
So I'm going to start with the C major segment.
I'm going to apply my Travis picking pattern and I'm going to do my new pattern which is this from over.
More without the double note.
Exactly the same patterns that we look down the last lesson.
And then practice go from that to the F major seven again here.
My thumb is going to go down to the D string because that's my room.
Everything else stays the same.
OK.
Or if you go do the double hit at the start.
One two three.
Then for the g-7 it's the same picking pattern as if you just do it in a small g so.
Because the root is on the string.
So just try doing something along these lines.
Practice one pattern without the double hit first.
So with one win.
The change.
God same thing.
Then with a double again.
And change chord again.
She's 7 without him.
With that way.
And just go around.
Lands you're your really getting these chords together.
We don't need to be perfect at the moment just well enough just enough so that you can just do that
at that nice steady pace because next time we're going to start looking for a song.
And that's when we're really going to get these chords nailed.