Variation in Ab Major

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If yesterday's G#m variation doesn't float your boat, let's modify the previous riff in Ab major this time. Results may vary:

    Ab
e|--------4-----------------|--------4-----------------|
B|--------4-----------------|--------4-----------------|
G|--------5-----------------|--------5-----5--6--7-----|
D|--------6-(6)/10\8\-6-----|--------6-----------------|
A|--------6-----X--X--X-----|--------6-----------------|
E|--4--4--4-(4)/8-\6\-4-----|--4--4--4-----------------|

    Dbsus2                     Ebsus2      Ebsus4   Eb
e|--------4-----------4-----|--------6-----------6--6--|
B|--------4-----------4-----|--------6-----------9--8--|
G|--------6-----------6-----|--------8-----------8--8--|
D|--------6-----------6-----|--------8-----------8--8--|
A|--4--4--4-----4--4--4-----|--6--6--6-----6--6--6--6--|
E|--------------------------|--------------------------|

Variation in G# Minor

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This is slightly different than yesterday's riffing pattern, with some embellishments. The previous days' ambiguously power chord progression is now an obviously minor one in A-flat (Ab) or G-sharp (G#). You'll need to use your pinky to stretch to the 7th fret on the Low E string for this progression:

    G#m
e|--------4-----------------|--------4-----------------|
B|--------4-----------------|--------4-----------------|
G|--------4-----------------|--------4-----------------|
D|--------6-----------------|--------6-----------------|
A|--------6-----------6-----|--------6-----------6--6--|
E|--4--4--4-----7--4--4-----|--4--4--4-----7--4--4--4--|

    C#sus2                     D#sus2
e|--------4-----------4-----|--------6-----------6--6--|
B|--------4-----------4-----|--------6-----------6--6--|
G|--------6-----------6-----|--------8-----------8--8--|
D|--------6-----------6-----|--------8-----------8--8--|
A|--4--4--4-----4--4--4-----|--6--6--6-----6--6--6--6--|
E|--------------------------|--------------------------|

Variation in Ab

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This is slightly different than yesterday's riffing pattern:

    Ab5
e|--------------------------|--------------------------|
B|--------------------------|--------------------------|
G|--------------------------|--------------------------|
D|--------6-----------6-----|--------6-----------6--6--|
A|--------6-----------6-----|--------6-----------6--6--|
E|--4--4--4-----4--4--4-----|--4--4--4-----4--4--4--4--|

    Db5                        Eb5
e|--------------------------|--------------------------|
B|--------------------------|--------------------------|
G|--------6-----------6-----|--------8-----------8--8--|
D|--------6-----------6-----|--------8-----------8--8--|
A|--4--4--4-----4--4--4-----|--6--6--6-----6--6--6--6--|
E|--------------------------|--------------------------|

I IV V in Ab

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We're continuing with the same sort of rhythm as yesterday, but with a full chord progression in four measures:

    Ab5
e|--------------------------|--------------------------|
B|--------------------------|--------------------------|
G|--------------------------|--------------------------|
D|--------6-----------6--6--|--------6-----------6--6--|
A|--------6-----------6--6--|--------6-----------6--6--|
E|--4--4--4-----4--4--4--4--|--4--4--4-----4--4--4--4--|

    Db5                        Eb5
e|--------------------------|--------------------------|
B|--------------------------|--------------------------|
G|--------6-----------6--6--|--------8-----------8--8--|
D|--------6-----------6--6--|--------8-----------8--8--|
A|--4--4--4-----4--4--4--4--|--6--6--6-----6--6--6--6--|
E|--------------------------|--------------------------|

Eighth Notes, Quarter Notes in Ab

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When we're counting 8th notes in 4/4, each measure would go something like 1 and 2 and 3 and 4 and...and so on. For this exercise, think (and strum) 1 and TWOOO, 3 and 4 and... Unlike the rest of the measure (in 8th notes), you'll hold the second beat for a quarter note:

    Ab5
e|--------------------------
B|--------------------------
G|--------------------------
D|--------6-----------6--6--
A|--------6-----------6--6--
E|--4--4--4-----4--4--4--4--

Changing up the Rhythm Guitar in C#, 6/8

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We're going to arpeggiate the the thinnest strings of every chord to change up the Wednesday's rhythm guitar part. Remember, the time signature counts something like 1-2-3-4-2-3:

   C#m       C#m7        A        Aadd9
e|--------4--------0--|--------5--------0--|
B|-----5--------0-----|-----5--------0-----|
G|--6--------6--------|--6--------6--------|
D|--------------------|--------------------|
A|--------------------|--------------------|
E|--------------------|--------------------|

    E        E5          B        Badd11
e|--------7--------0--|--------7--------0--|
B|-----9--------0-----|-----7--------0-----|
G|--9--------9--------|--8--------8--------|
D|--------------------|--------------------|
A|--------------------|--------------------|
E|--------------------|--------------------|

Finishing the Second Guitar Part in C#, 6/8

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We're going to try for a minimalist second guitar part to complement yesterday's strumming. To finish the part, we'll incorporate major 3rds, suspended 4ths, lowered 5ths, and octaves for the last two chords. Remember, the time signature counts something like 1-2-3-4-2-3:

   C#m       C#m7        A        Aadd9
e|--------------------|--------------------|
B|--------------------|--------------------|
G|--------------------|--------------------|
D|--6--6--6--6--6--6--|--7--7--7--7--7--7--|
A|--4--4--4--X--X--X--|--X--X--X--X--X--X--|
E|-----------4--4--4--|--5--5--5--0--0--0--|

    E        E5          B        Badd11
e|--------------------|--------------------|
B|--------------------|--------------------|
G|--------------------|--------------------|
D|--6--6--6--6--6--6--|--------------------|
A|--X--X--X--X--X--X--|--6--6--6--7--7--7--|
E|--0--0--0--7--7--7--|--7--7--7--7--7--7--|

Building a Second Guitar Part in C#, 6/8

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We're going to try for a minimalist second guitar part to complement yesterday's strumming. We'll incorporate power chords, lowered 5ths, and octaves for the first two chords. Then we'll come back tomorrow for the last two chords. Remember, the time signature counts something like 1-2-3-4-2-3:

   C#m       C#m7        A        Aadd9
e|--------------------|--------------------|
B|--------------------|--------------------|
G|--------------------|--------------------|
D|--6--6--6--6--6--6--|--7--7--7--7--7--7--|
A|--4--4--4--X--X--X--|--X--X--X--X--X--X--|
E|-----------4--4--4--|--5--5--5--0--0--0--|

    E        E5          B        Badd11
e|--7--7--7--0--0--0--|--7--7--7--0--0--0--|
B|--9--9--9--0--0--0--|--7--7--7--0--0--0--|
G|--9--9--9--9--9--9--|--8--8--8--8--8--8--|
D|--9--9--9--9--9--9--|--9--9--9--9--9--9--|
A|--7--7--7--7--7--7--|--9--9--9--9--9--9--|
E|--------------------|--7--7--7--7--7--7--|

Thin Strings Ring in C#, 6/8

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We're going to let the two thinnest strings ring at the "4-2-3" count at the end of the measure. Remember, the time signature counts something like 1-2-3-4-2-3:

   C#m       C#m7        A        Aadd9
e|--4--4--4--0--0--0--|--5--5--5--0--0--0--|
B|--5--5--5--0--0--0--|--5--5--5--0--0--0--|
G|--6--6--6--6--6--6--|--6--6--6--6--6--6--|
D|--6--6--6--6--6--6--|--7--7--7--7--7--7--|
A|--4--4--4--4--4--4--|--7--7--7--7--7--7--|
E|--------------------|--5--5--5--5--5--5--|

    E        E5          B        Badd11
e|--7--7--7--0--0--0--|--7--7--7--0--0--0--|
B|--9--9--9--0--0--0--|--7--7--7--0--0--0--|
G|--9--9--9--9--9--9--|--8--8--8--8--8--8--|
D|--9--9--9--9--9--9--|--9--9--9--9--9--9--|
A|--7--7--7--7--7--7--|--9--9--9--9--9--9--|
E|--------------------|--7--7--7--7--7--7--|

Making It Four Chords (and the Truth) in C#, 6/8

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Let's add the E and B chords to the C# minor progression. Remember, the time signature counts something like 1-2-3-4-2-3:

   C#m                   A
e|--4--4--4--4--4--4--|--5--5--5--5--5--5--|
B|--5--5--5--5--5--5--|--5--5--5--5--5--5--|
G|--6--6--6--6--6--6--|--6--6--6--6--6--6--|
D|--6--6--6--6--6--6--|--7--7--7--7--7--7--|
A|--4--4--4--4--4--4--|--7--7--7--7--7--7--|
E|--------------------|--5--5--5--5--5--5--|

    E                    B
e|--7--7--7--7--7--7--|--7--7--7--7--7--7--|
B|--9--9--9--9--9--9--|--7--7--7--7--7--7--|
G|--9--9--9--9--9--9--|--8--8--8--8--8--8--|
D|--9--9--9--9--9--9--|--9--9--9--9--9--9--|
A|--7--7--7--7--7--7--|--9--9--9--9--9--9--|
E|--------------------|--7--7--7--7--7--7--|

Adding an A Chord to the C# 6/8 Groove

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Let's add an A chord to the C#m chord. Remember, the time signature counts something like 1-2-3-4-2-3:

   C#m                   A
e|--4--4--4--4--4--4--|--5--5--5--5--5--5--|
B|--5--5--5--5--5--5--|--5--5--5--5--5--5--|
G|--6--6--6--6--6--6--|--6--6--6--6--6--6--|
D|--6--6--6--6--6--6--|--7--7--7--7--7--7--|
A|--4--4--4--4--4--4--|--7--7--7--7--7--7--|
E|--------------------|--5--5--5--5--5--5--|

C# Chord Progression in 6/8 Time

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Like last week, we'll use a weeklong example to write a piece of a song. This time it's a nice 6/8 chord progression starting with a C#m chord. Remember, the time signature counts something like 1-2-3-4-2-3:

   C#m
e|--4--4--4--4--4--4--|-----
B|--5--5--5--5--5--5--|-----
G|--6--6--6--6--6--6--|-----
D|--6--6--6--6--6--6--|-----
A|--4--4--4--4--4--4--|-----
E|--------------------|-----

Adding Final Touches to the F# Riff

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We're going to thicken up this riff by adding a root-octave to the power chords. Slide your ring and pinky fingers up or down the neck while playing the open Low E note:

    F#5         A5    B5
e|--------------------------
B|--------------------------
G|--------------------------
D|--4--4--4--/--7--/--9--\--
A|--4--4--4--/--7--/--9--\--
E|--2--2--2--0--5--0--7--0--

Sliding the A String Note While Playing the F# Riff

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While playing the open Low E note, use your ring (or pinky) finger to slide up the neck to the next power chord. At the end of the measure slide down from the 9th fret back to the 4th to repeat the riff:

    F#5         A5    B5
e|--------------------------
B|--------------------------
G|--------------------------
D|--------------------------
A|--4--4--4--/--7--/--9--\--
E|--2--2--2--0--5--0--7--0--

Three Chords and the Truth in F#

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With yesterday's addition of A5, the F# riff is essentially F#m. Let's add the B5 power chord:

    F#5         A5    B5
e|--------------------------
B|--------------------------
G|--------------------------
D|--------------------------
A|--4--4--4-----7--7--9-----
E|--2--2--2--0--5--5--7--0--

Let's Add Another Chord to the F# Riff

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We're continuing writing this riff by making it an F#5 power chord. Let's add an A5 power chord, and we're on our way to writing a seedling for a song:

    F#5         A5
e|--------------------------
B|--------------------------
G|--------------------------
D|--------------------------
A|--4--4--4-----7--7--7-----
E|--2--2--2--0--5--5--5--0--

Let's Make It an F# Power Chord Riff

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We're continuing writing this riff by making it an F#5 power chord. To get to the Open E, just lift your index finger:

    F#5
e|--------------------------
B|--------------------------
G|--------------------------
D|--------------------------
A|--4--4--4-----4--4--4-----
E|--2--2--2--0--2--2--2--0--

Let's Make It a Two-Note F# Groove

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This week, we'll slowly build a groove/riff in F#, in eighth notes (1 and 2 and 3 and 4 and). Now let's play the F# note on 1, and, 2; play the open Low E on and; play the F# note on 3, and, 4; play the E on the last and. Repeat measure if necessary:

    F#
e|--------------------------
B|--------------------------
G|--------------------------
D|--------------------------
A|--------------------------
E|--2--2--2--0--2--2--2--0--

Let's Build a Groove in F#

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This week, we'll slowly build a groove/riff in F#. For now, here is the same note in one measure of eighth notes (one and two and three and four and). Repeat measure if necessary:

    F#
e|--------------------------
B|--------------------------
G|--------------------------
D|--------------------------
A|--------------------------
E|--2--2--2--2--2--2--2--2--

Last Open B Lesson (for Now)

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We'll leave only the B String open for some interesting chord voicings to spruce up an otherwise regular Bm-G-D-A progression:

   Bm    G   D6   Aadd9
e|-10----7----2----9----
B|--0----0----0----0----
G|-11----7----2----9----
D|--9----5----0----7----
A|----------------------
E|----------------------

More Open B String Voicings

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We'll leave only the B String open for some interesting chord voicings to spruce up an otherwise regular B-F#-G#m-E progression:

    B F#add11 G#m  E
e|-11----6----7----4----
B|--0----0----0----0----
G|-11----6----8----4----
D|--9----4----6----2----
A|----------------------
E|----------------------

Open B String Voicings

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We'll leave only the B String open for some interesting chord voicings to spruce up an otherwise regular B-D-A-E progression:

    B    D6  Aadd9  E
e|-11----14----9----4----
B|--0-----0----0----0----
G|-11----14----9----4----
D|--9----12----7----2----
A|-----------------------
E|-----------------------

Open B and High E, Once Again

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We're going to breathe some life a standard F#-A-E-B progression by letting the two thinnest strings ring:

 F#7add11 Aadd9 E Badd11
e|--0-----0-----0----0--
B|--0-----0-----0----0--
G|--3-----6-----1----8--
D|--4-----7-----2----9--
A|--4-----7-----2----9--
E|--2-----5-----0----7--

More Thin String Ring

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We're going to breathe some life into the generic G-D-Em-C progression this time. These open voicings sound "punchier" when combined with a capo higher up the neck (but that is subjective):

   G6 D6sus2/F# Em7 Cmaj7/G
e|--0----0-------0----0--
B|--0----0-------0----0--
G|--0----2-------0----0--
D|--0----0-------0----2--
A|--2----0-------2----3--
E|--3----2-------0----3--

More Open B and High E Strings

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We're going to breathe some life into the generic C-G-Am-F progression by letting the two thinnest strings ring:

  Cmaj7 G6 Asus2 Fmaj7(b5)
e|--0----0----0----0--
B|--0----0----0----0--
G|--5----4----2----2--
D|--5----5----2----3--
A|--3----5----0----3--
E|-------3---------1--

Letting the Open B and High E Strings Ring

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Letting the thinnest two strings ring for various chords can make a six-string almost sound like a twelve string, create interesting melodies, or make possibly useful dissonance. Here are some safe bet voicings:

  Bsus4 C#m7 Asus2 E5
e|--0----0----0----0--
B|--0----0----0----0--
G|--4----6----2----9--
D|--4----6----2----9--
A|--2----4----0----7--
E|--------------------

Ringing the Open High E String

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Letting the open High E string ring while playing a lead melody might spice up your playing a bit. This technique works *best* in an E key/mode. The droning quality might even be reminiscent of various non-guitar stringed instruments:

   Em                 E                      Em
e|--0--0--0--0--0--0--0--0--0--0--0--0--0--0--0--0--0--0-
B|-12-10--8--7--5--4--5--7--9-10-12-14-16-17--0--1--3--5-
G|-------------------------------------------------------
D|-------------------------------------------------------
A|-------------------------------------------------------
E|-------------------------------------------------------

Open Low E String and Octaves

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This time, we're pedaling the open Low E string with various octaves up the neck. If you're strumming with a pick, part of your fretting hand will mute the D string, so that you are only playing the notes on the Low E, A, and G strings. You can avoid the D string altogether if you're finger picking. Approximate chord names for these intervals are labeled above the tab:

   E5   E6   E7  Emaj7  E  Esus2  Em    E   Esus4   E5
e|------------------------------------------------------
B|------------------------------------------------------
G|--4----6----7----8----9---11----12----13----14----16--
D|--X----X----X----X----X----X-----X-----X-----X-----X--
A|--2----4----5----6----7----9----10----11----12----14--
E|--0----0----0----0----0----0-----0-----0-----0-----0--

Six Part "Harmonies" with the Open Low E String

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Today, we're adding a note on the High E string to create exciting voicings up the fretboard. Some of these chords aren't so harmonious, as this lesson's title might suggest.

   Em7  E6 D6add9/E D#mmaj7/E Em F#7madd4/E Em7   E6  Amadd9/E  E
e|--3----0----0-------0--------0----0-------10-----9-----0-----12--
B|--3----0----0-------4--------0----0--------0-----9-----0-----12--
G|--0----1----2-------3--------0----6--------0-----9-----9-----13--
D|--2----2----4-------4--------5----7--------9-----9----10-----14--
A|--2----4----5-------6--------7----9-------10----11----12-----14--
E|--0----0----0-------0--------0----0--------0-----0-----0------0--

Five Part Harmonies with the Open Low E String

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Today, we're adding a note on the B string to create exciting voicings up the fretboard.

   Em7  E6   D6/E D#m/E Em F#madd4/E  Em     E   Amadd9/E    E
e|--------------------------------------------------------------
B|--3----0----0----4----0----0---------0-----9-----0--------12--
G|--0----1----2----3----0----6---------0-----9-----9--------13--
D|--2----2----4----4----5----7---------9-----9----10--------14--
A|--2----4----5----6----7----9--------10----11----12--------14--
E|--0----0----0----0----0----0---------0-----0-----0---------0--