Example 1 shows how to play a G– D development with open chords. Note that I play the G chord with my third finger on the second string and keep it held in place for the D chord. That makes for a smoother shift in between the two shapes.
Example 2 illustrates a typical way to move between G and D barre chords. It may spend some time to be able to change between these two chords easily, so be client with yourself in working on this figure. If Ex. 2 is too difficult to play at this point, attempt Example 3a, which includes compact voicings on the top 3 strings. For the D chord, you might also utilize a shape lower on the neck– which you’ll acknowledge as the top 3 notes of the open D chord– as revealed in Example 3b.
Examples 4a– b show less common methods of play the G– D development, remaining in seventh position (Ex. 4a) or up (4b) to grab the D chord. Keep in mind that in the interest of smooth motion between these shapes, in Ex. 4a the least expensive note in the D chord is the third (F#) and in Ex. 4b it’s the fifth (A).
Example 5a takes things further up the neck to tenth position. Keep your very first finger barred throughout all 6 strings at fret 10 when playing this figure, and attempt Example 5b as an alternative to the barre chords in this position.
As you have actually made with the previous lessons, take the time to practice switching between all of these chord shapes utilizing as little finger movement as required, and ensuring that you can plainly hear all of the notes in each chord. For examples of the G– D progression in action inspect out “A Starting Tune” by the Decemberists and “A Lot of Moving” by the Avett Brothers. That’s it for this lesson. Stay tuned for next time, when I’ll introduce you to your first minor chord, Am.