Trati ve oe Se Essential Progressions for Acoustic Guitar @ HomesPun aS -_ A i) HAL*LEONARD*CD instruction makes it easy! Find the section of the lesson you want with the press of a finger; play that segment over and over until you've mastered it; easily skip over parts you've already mastered—no clumsy rewinding or fast forwarding to find your spot; listen with the best possible audio fidelity; follow along track-by-track with the book.PAGE 6 ARTA Ld a TRACK 6 Table Introduction Principles of Chords — C9 — Am? Making Ie Interesting — C9 — Am7 — Dm7— Gsus D— D/F#— G—AT and Right-hand Technique D—Bm7 — Em? — Easy Three-note Chords Asus Arpeggios and Choice of Bass Notes Variation — Em9 Das Drone/Progressions Variation in D — Baroque Style Funkier Chords — Descending Ideas Key of F — Three-note Chords and Progressions Three-note Blues and Jazz Chords Moving the Chords Turnaround (Short Version) an RAUM Essential Progressions for Acoustic Guitar of Contents PAGE 38 40 41 8 co TRACK 16 Long Turnaround 17 Turnaround #2 18 Using Chords in Alternate Ways 19 20 Review of Other Keys Adding Ninths Minor Key Chords Using Ninth in Bass and C9 Expanding Progressions — Am — Bm, Etc. G Progression E Progression © Progression ‘Two and Three-note Chords Bluesy Idea Two and Three-note Chords Continued Major 7 Chords Conclusion@ Introduction E7 DT cH GI Fe] c7 BT ! | = (eae - a - - EE +p = 1B 4 1 E7 D7 C47 G7 Fe7 C7 BT OFT ET *CH7#9 » PI FAT B7 £7 *CH7H9 FAT B7 ze = = e -) Wetags enone E 7 4 4 8 4 =e 2 7 "Ca7H9 FAT BI Eadd9 * Implied tonality© Principles of Chords - Cadd9, Am7 Everybody seems to play the basic chords. ‘The C Chord 6 ‘The G Chord G ‘The D Chord One of the things that you can do to these chords is to add 6ths, Mths, and 7ths so that you can have a full complement of sounds. For example, here's your basic C chord. If you were to add your pinky to the second string, third fret (the D note), you would have a Cadd9. gaa FF The same idea applies to an Am chord AmIf you were to remove your second finger from the second fret on the G string, you would get an Am? chord. Am? FE [And by adding your pinky to the third fret on the E string you get an additional ‘Am? voicing with the seventh in two different places. So let’s review: Cadd9 and Am7. Caddo Am? = 8 When you play some of these chords, some of the notes won't work very well. For example, in the C chord, the low E won't work. CE = : So you either have to mute it or play the chord from the fifth string. |As we add notes to chords, bear in mind that we have to be aware of which note we are adding. So continuing on, we have Cadd9, Am7, Dm, G. Ceddg An? a Making It Interesting - Cadd9 - Am7 - Dm7 - Gsus Now to make it a little more interesting, here is your Cadd9, Am7, Dm7, Gsus. Dm7 Gsus@ D-D/F#t-G - A7 and Right-hand Techniques Now moving along with this idea, let’ jump to D. D In this chord once again, you can’t hit the low E string when you strum the chord because it doesn’t work. DE Ee So you have to start on the D root and then strum the D chord above it. D Now with your D chord in place, reach over with your thumb to the second fret on the sixth string and play the note. Here you get a D/P DFE ‘This is a very important chord and a great passing chord going to G. D DiFE G A lot of people play the G chord with an open second string.I prefer doing that as an A7sus4. ATsus4 And then back to D. DIFE G ATsust DD In my right hand I pluck all of the notes. In the same manner of adding and removing notes, if you take your D chord and remove your third finger from the E string you get a D chord with an open Eon top (Dsus2). Dsus2 Dsus2 oy iy ‘Then you can add your pinky for a Dsus (Dsus4). Deu Dsus4 Dsus2 aP Dsus‘Then you can add your fourth finger to the first string on the fifth fret for a D chord with an A on top (DaddA). add, = So you have: Dsus? D Dsus Dada > D - Bm7 - Em7 - Asus - Easy Three-note Chords Now very often a progression will go from D, to Bm which is normally done with a barre. Bm Here is another Bm chord (Bm7). Bm? a But it is played with three notes. Bm7 it So to be very precise, the D chord is like this: HeFe10 The Bm? sounds like this: pole ‘Then you would go to an Em chord. The normal Em chord looks like this: Em When you take this form and add your pinky to the second string, third fret (D), you get an Em7 chord. Em7 And then you can end up on the Asus. ‘h can take you nicely back to D. So you have D. D Bm? asa three-note chord. Bm7 = Aone note change to make Em7. Em7,Completing the cycle with Asus. Asus, So you can strum it. 2 = 60 D Bm7 Em7 Asus @ Arpeggios and Choice of Bass Notes You can also play these in an arppegiated fashion. D BmTadd4 Em7 Asus Notice that your choice of bass notes is important. Din the bass. D "B in the bass Bm7add4 — i : . ro a ca ene ae ‘Be 2 Low E in the bass Em7 2. = 100 Bm7 Em7 Asus4 | | - +. po * e f = j —-= : : I SSS = 3 iter sists iat : ~ + [A+ ‘B a e© Variation — Em9 Now just to complicate matters a bit more, instead of an Em7, you can add your third finger to the second fret of the first string (Ft) and play Em9. Em9 is This chord can be used in both the keys of D Major and E Minor. So now we have: Bm? Em9 Asus D Bm? Em9 Asus D Bm7 Em7 AsusA7 D What I did that last time was when I got to the Asus, Asus T resolve by just going to an A7, AT and then back to D. D = 1314 > D as Drone/Progressions By using the open D string, you can create an interesting drone effect by playing different chords over the resonating D string drone. For example, from the D chord, i you can move to an Em? chord in 2nd position, and then move that form up two frets, Fem/D an and then move it back down two frets. Em7/D So it’s D, Em/D, Fém/D, Em/D and then back to D. ae ae So we have: D EmD Fémb Em/D Lat D notes ring‘Now instead of going to the minor chord you can play the minor seventh chord, Em7/D ae Til D Em7/D Fem7/D_ Em7/D Let D notes ring you can extend it by going upwards, D Em7/D Fém7/D = = 2 and play G/D, GD and then back down. Fem7/D Em7/D D 2 Let D notes rng When you start thinking of it rhythmically with some ideas in your right hand you get: ty [2 Em7/D Fm7/D Em7/D Em7/D 1516 ® Variation in D - Baroque Style The other nice thing about D is some of the minor chords that come off of it. So as you are working your way up the neck, you can use different bass notes to make this sound a little more interesting. You have your D, D 1 going to this new form of an Em7 chord with a B in the bass, Em7/B ia then you can play the same chord with the note A on the G string. EmLVB * ‘Then you can finish the progression by moving to A7 back to D. D Em7/B AT D 2s lot ing. bg — ed — 0) SSS 3 oo ——— —— i a =a ee You can take it further by playing a Fém7/C#. Femz/C# aed So the progression would be as follows: D Em7/B Fem7/B D aa A = =! = ~ aig Nigiri — = 3 B43 *% $ =“To continue that progression I would go to Bm, Em, Asus, back to D. Bm Em Asus. DP zu += 88 D Em7/B Femv/CE Bm7 Em7 Asus D — $ + 22} : 4 ° - : t 2" =: ae —s i = ire gr * feceing <4 letring. oy leteing. =, ting eee letting. yeti ting 2 3—+4 ~f- 1 3 355 3 3 2 0 } 4 ¢ And then you could add the D/F#, G, Asus, back to D. 2 =88 DIFE G Asus D —— 3 . = + oF Es oa a— 3 Funkier Chords - Descending Ideas ‘The key of D has many possibilities and there are other things that we can do to make the chords funkier. If you play the open D string, D and F¥ on the seventh fret of the second and third string, and your open E string you also get a D chord (Dadd9). Dadd9 78 ‘Then move to a partial A chord (A/D), AID igh a partial G Chord (G6/D), gon and a partial D chord (D5). Ds When you put them together they sound like this: d=2 Dadd9 AD G6ID Ds * Let D Notes Teworks really nicely as a little descending line. o=72 Dadd9 AD GoD DsIfyou are not picking but strumming, it would sound like this 2 Tes AID GoD AID Dadd? ‘ AID Gé/D DSadd9_ eee eee a a You could start with your D chord, move up to a C/D chord, and resolve it up toD. i 22? Dadd9 = AD. Geb AD Dado AD GoD AD Dadd9 I letving 4 letring 4 etring._ letring.. letting = $ g $ let ring. 4 let ring © Key of E - Three-note Chords and Progressions Let’s move on to the key of E which has its own set of rules and its own set of opportunities. The key of E is really great for some funky chords that are three- note jazz and blues chords. The first position is a B7 chord, * ae a which is moved up to the sixth fret to make E7. 13‘When I remove my pinky from the top string we are left with this E7 lite je Within that chord, the three notes that you are fretting form an E7 chord. Itis true that with this particular chord all of the strings can be played, @=104 E7 but because this is a movable form you have to be aware not to hit the open strings. For example, you will notice that if you move the chord up one fret to F7 and strum all of the open notes, the chord doesn’t work. ad" ‘The F7 does work when you hit just those three notes. J =104 FTIfyou think of this as very tight chords with just three notes, you are going to get a jot of use out of this. So here's your E7: ET te If you were playing a blues, the next chord would be an A7, [ES eeeapetees terest oSeeete ael| then you would return to E7, jumping back and forth between E7 and A7. ET ar If you take that form and move up to the thirteenth fret you have B7, B7 + + 2which you can also play in Ist position, By and then back to E. E So if you were to play a blues progression based off these three-note chord forms in the key of E, it would go like this: E7 AT E7 4} Three-note Blues and Jazz Chords Now that works just fine but there is another way to do it that will really expand your chord playing. If you take your first finger and put it on the sixth string - fifth fret, your second finger on the fourth string - fifth fret, and your third finger on the third string - sixth fret, you get an A7 chord. AT ui This is a very movable and tight sounding chord voicing. AT When we move this chord to the seventh position we get B7. B? Now the trick is to incorporate the original E7 voicing with these two new voic- ing for A7 and B7. 7 AT E7} Moving the Chords Recognizing that the A7 and B7 chords are also movable voicings, you can take your A7 voicing and move it to the twelfth position and play E7. So here once again is A7, B7, and B7. AT By Ey “Make sure when you are playing these voicings to dampen the open strings around them. My favorite way to play these chords with my right hand is to pluck each note using the thumb, first, and second finger of the right hand 57 AT E7 FE Es = z ¢ = B 3 5 5 & When you are playing the E7 chord with the root on the seventh fret, another possibility is to move your second finger over one string on the same fret and play the note B. EmSo your bass goes like this. ©} Turnaround (Short Version) ‘The best way to work on these new chords is to practice them as turnarounds. ‘The following is a common turnaround: E CHT FAT. BIIFE i ot —— oe 28 = ee Here is another slight variation on the above example: E CHT ae ce7 Fay BT ET = 2 oe 2 2-33 ‘B +4&} Long Turnaround One of my very favorite turnarounds incorporates the chords we looked at earli- er in this manner: BY. DT. CH. G7 7 C7 BI- FF E d Turnaround #2 Another way to play this turnaround is to begin with F7 in twelfth position and play an almost mirror image of the earlier progression. E7, D7, C#7, G7, F¥7, C7, B7, F7, E7. ‘ET cH G7 tifie ington tat BT FL Fl te fin anh ane‘You can play these chords and continue down the neck with the previous pro- gression. J =118 E7 D7 C#7G7_—-FE7 C7 _B7 F7 -E7 D7 C#7G7_-FA7 CT BT FT E | we - You can play a simpler turnaround in the key of E. by doing this: J=112 E CHT FR7 BT - = | ww a a A — &} Using Chords in Alternate Ways ‘This leads us to other subtle movements up the neck with these three-note chords. E, B7, this full E, and maybe going to an A7. EB BIE EGE AT xe @ So together we have: E BIFH EGS Al EG? CVG BTIFEE BUFE HG AT BIG? CVG BFE EB ‘You can also do a simple walk-up that you may have heard in some R&B tunes. B BFE CVG = C8TIGE to ‘This is really nice going to a C47, F#7, BT, back to E. So that progression would be: 1 = E BIE CG CHUGH C47 FHT B7 E te 28© Review of Other Keys ‘We can expand these chords simply by adding one other note, This is generally done with the pinky. Take the B7 position and move it up to the seventh fret. Add your pinky to the second string - eighth fret. This chord is called E749. E739. ‘This chord can be played in a funky rhythm, ET#9 === a $ = ot a more bluesy rhythm, This chord is a movable voicing. The note that is under the second finger is always your root. E7#9 4 2 ? / Y If you take your E749 chord and move your fourth finger down one fret you get Eg. Fo If you go to your A7 chord with the root on the sixth string and add your pinky to the second string - seventh fret, you get an A13 chord. AI3When you flatten your pinky onto the note B on the first string, you get AI3 with the ninth on top. Al ‘These chords too are movable voicings. Adding Ninths You should practice all of these turnarounds in other keys, For example, D: D7 ar D7 Dy G7 535 2 EF iB 04e—3- 8 40 310-400 oer ee ~ ot0-40 10-10-1040 010 1010, DT AT a D7C7.B7 F7_-E7 Bb7 AT Eb7 2 iat 39 ' a 0 91010-1040 49-10-10-10 ea D9 G7 be D7#9 GIB fod$55 8 555 $5} 5 5 As you continue to study you'll learn how to move these chords around the neck in any key. Soon you'll know that if someone calls a tune in B}, you can play it here: Bb13 EDS BbI13 FIC FRTIC# GT/D Eb7 | By knowing where the root of the chord is and which of the two chord positions to choose from, you should be able to locate any chord that you need. You should also experiment by adding notes to chords, ET E789 me E7 fugio- t t a HH 3132 Minor Key Chords Let’s take a look at some minor key ideas. Your Em chord looks like this: By adding your pinky, you get your minor seventh. Em7_ ay By m9 adding your Ft on the first string - second fret, you get Em9 You can also play Em7 as a three-note chord. Em? © Using Ninth in Bass and Cadd9 One of the great things about E minor is that you have the open strings to work with. One chord that works well in this fashion is your Em9 chord with the F¢ on. the fourth string.You can also go to a Cadd9 chord. a9 Em9 Cada9 Another great progression Eng Saad Em7 Caddo. Am? Bsus You can also play the Am as a barre. gmYou can also add your pinky on the E string to this chord. Am9 Am7 Em9 Caddo Am7 BYsus } Expanding Progressions — Am - Bm, Etc. So to expand your chord knowledge a little more, let’ try Am? - Bm7 - Cadd9 - D-Em9. Am7 BmTadd4 —Cadd9 D Em? You can also play the D/F& Dey So you can do it like: Am7 — BmTadd4 Cadd9 D/FE = Em9or: Am Bm7add4 Caddo D Em) How you play these progressions with your right hand is also very important. You can play it pick style: Am Bm7 Caddo DiFE Em9 } G Progression ‘Another alternate progression would be to go: G— Am7 ~ Bm7add4 - Cadd9 - F Am? Bmvadds — Cadd9& E Progression In the key of E you can also add a ninth in the bass, to Fém7, to Gtm7, to an A with a Bon top. — a SS & & & & You can play this ascending and descending. Rubato E Fem? e Aadd9 Gm7 Fém7 Badd Eaddo Fam? Gtm7 Add? Gtm7 Fém7 ado 36} C Progression In the key of C we ean play: Em7 Am7 co od Bo EF # & 7 a Tse ar rar Tt and turnaround to G G iS Em7 Am? © F G G iC Em? Am7 co F G a You could also play D/F# in place of C9. @ Em? Am? DIFE F G 3What makes this progression really interesting is the bass movement. ic Em Am7 DFE F G c Two and Three-note Chords Let's look at some two and three-note movable chords. You can ascend and descend using these chords: G Am Bm7 Cadd9. -Bm7) Am = Gs Am_—s Bm? Cadd9_—Dadd. Em7 You can also just go up part way: Am = Bm7 Cadd9You may also start on the Em Em =D ep) Bm7 Em Am DFE Em? D Cc Bm? Am DFE G Am Bm7 Cadd9 Bm7Am G Am Bm7 Cadd9 D Em Other chords to look at are ones that take advantage of the open strings. In the key of E you have: . E Fem711) G#m7(13) af Ee se If you were to pluck it: E Fém7 Gtm7 Fém7and go to A, AT Em9 Em Em9 AT Em9 Em E 9 and back to E. You can also play your E progression and end up on this A chord. fare } Bluesy Idea ‘You can also start here on the seventh fret and work down the neck to E. BwE AE GémvE Fim/E E You can also strum these chords being careful not to play the open A string.d ‘Two and Three-note Chords Continued ‘The two and three-note chords are really interesting. E Fimsus G#m Aad Bm Aadd9 G#m_— Fémsus_ Now chords in other types of turnarounds are effective, Take an E chord, move it up to the fourth fret, and take your third finger off the fourth string. Now you have E7. If you take this and move it down chromatically you get a turnaround in the key of E. g a ‘The best way to play this is to lightly dampen the strings you are not playing with the fleshy part of the fingers of your left hand. You can also dampen a bit with the back of the palm of the right hand. You can also transfer these three-note voicings to the higher strings: E Fem Gtm Fm E | | pH dd T a142 Because your pinky is free, experiment using it to construct melodies. E Esus E F#m Fémsus Fém 2 } Major 7 Chords No lesson on chords would be complete without talking about the Major 7th chord. Amaj7 Another Amaj7 voicing is on the fifth fret: Amaj7 Here are the other chords going up the neck: Bm7 C#m? Dmaj7 Sa diatele capeYou can also play your minor 7th chords followed by a dominant 9th chord: Bm7 Eo Bm7 9 Am? po Am? D9 Gmaj7 ci Conclusion 1 trust that this lesson has been helpful. I'm going to take it out with a little chord playing, E7 AT E7 Tv Tan Tin 3a 35 Bo E7#9 AT Al3 gana 37 34 mn cancel | | aes (Se alee > 2 oT z — a § 4 oS 7 $-E7 E789 E7 BT AT Ey cH? FAT BT Fém7 (cence! E Fem7 E Fém7 G#m7 FAT 3434-34 3q PIN ITFam? B? E Fem7 E Fém7 Feet as pte Maen tt ai a Gtm7 c#749 Fe7 By E Fam? be 2 Sd I Spoken: Ah, take it out nov. FHT Fr ESContinue Your Studies with Artie Traum! I you enjoyed this Listen & Learn Publication, you'll want to know about other terrific guitar instruction products by Artie Traum. VIDEO LESSONS Guitar Accompaniment - 80-minute video Playing Lead For A Singer/Guitarist with Diane Zeigler A good accompanist adds depth, sparkle and excitement to a song, punctuating it with improvised lines and well-placed chords, then stepping forward to take a solo, Artie Traum has accompanied dozens of top performers, and here he shows guitarists how its done. Diane Zeigler’s original songs represent several styles—ballads, blues and country—and provide perfect material for lead back-up on acoustic guitar Gu Two 60-minute videos ord Magic These lessons are designed for folk, country and pop players who want to expand their chord knowledge and give their songs new life. ‘Video One: Transforming Your Songs Artie teaches how to build chords, turning them into 7th, 9th, 11th and 13th formations, He illustrates these techniques with new ways to play blues progressions and original songs. Video Two: Beginning Fingerstyle Jazz Continui progressions, his exploration of the guitars harmonic possibilities, Artie teaches easy but effective chord shapes, g basses, harmony lines, instrumental compositions and song accompaniments AUDIO CASSETTE LESSO! Basic Jazz. Guitar - Three one-hour audio cassettes plus chords and tablarure For Folk and Rock Players Advanced chord positions, chord substitutions, rhythm techniques and lead lines to enrich your favorite styles and explore new musical colors and tonalities. Songs include: Cold Front, Life On Earth and Sailor’ Lullaby. Lead Guitar - Six one-hour audio cassettes plus tablature book An easy instructional guide to the basics of electric guitar as played by some of the great blues/rock players. These tapes build an understanding of the sound and form of electric guitar from its most elementary licks through improvised blues, rock, funk and jazz lead playing, Hot Licks For Guitar - Six one-hour audio cassettes plus tablature book Great licks in all styles to make your playing dynamic, exciting and professional. Covers bluegrass, country, western swing, blues, rock and jazz licks, with ideas for improvisation. For both acoustic and electric players. These and hundreds of other top instructional tapes are available from your music dealer or directly from Homespun Tapes. For complete catalog, write or call: @ Homespun Box 340 * Woodstock, NY 12498 + (800) 33-TAPES ¢ (914) 246.Artie ‘TRAUM Essential Chi patois for Acoustic Guitar HomesPun’ Tapes ao. US. $14.95 ISBN 0-7935-8858-8 ° {Nn ‘This dynamic CD guitar lesson is the perfect way to expand your chord knowledge and make your playing come alive! ‘Whether you play folk, swing, jazz, blues or rock, this easy-to- follow CD/book will take you to the next level as a rhythm player. Don’t get stuck in ordinary C, D, E, and G chords. ‘This is your opportunity to open up to new harmonic ideas and develop your musicality. You'll learn essential chord positions and how to put them into progressions and turnarounds to enhance any song. Throughout the lesson, guitarist Artie Traum gives important tips on string damping, moving chords up the neck, changing keys, and using both fingerpicking and flatpicking techniques to get unique effects and textures. Here are a few of the things you'll learn in this invaluable package: * Positions for 6ths, major and minor 7ths, 9ths and other essential chords + Important movable 3-note shapes for powerful rhythm comping ‘+ How to change chords dramatically by moving just one finger * The secret of moving bass notes and how they impact chord progressions * Unique and wonderful blues and jazz turnarounds Artie ‘Traum has been a performing guitarist, recording artist and session player for thirty years. His recent CD, Letters From Joubee, was #1 on the smooth jazz radio charts for six weeks, and his followup CD, The View From Here, hit the Top 30. He’s been called “a master of guitar styles” (East Coast Rocker) and “4a great player and writer” (Jazz Quarterly), Artie has played guitar on tracks with The Band, Livingston Taylor, Tony Levin, Michael Franks and many other top recording artists. He has performed and taught workshops in Europe, Japan, and throughout the USA, and his videos for Homespun Tapes, Chord Magic and Guitar Accompaniment, continue to be among their best-sellers. CD instruction makes it easy! * Find the section of the lesson you want with the press of a finger. + You can skip the parts you've already learned or play a particular segment over and over until you've mastered it. + No rewinding or fast-forwarding to find your spot. + Follow along track-by-track with the book. * Listen with the best possible audio fidelity. eae ea