In the secret of C major, the I chord is C and the ii is D small. Example 1 reveals one of the most basic method to link these two chords, by using your standard open voicings. In Example 2, you’ll discover another typical relocation– playing the C chord as a barre shape in third position and the D minor in fifth position. As in the past, you do not have to play all 5 notes in each chord. Attempt just the notes on strings 2– 5, for example. That way, you can prevent playing barre chords. Example 3 reveals you how to play the development higher still up the neck. If you can, play the full six-note chord voicings prior to checking out partial shapes, like just the bottom or leading 4 notes of each chord.
Now let’s move along to the secret of G major, in which the I chord is G and the ii is A small. First attempt this progression with open chords, as displayed in Example 4. Try the G chord as written, or utilize any of the open variations you discovered previously. Then try the closed-position shape (not including any open strings) in Examples 5– 6. When playing through all of these examples, make certain that you can hear all of each chord’s notes clearly, and try to call the pitches as you go along. Deal with switching between the chord shapes as efficiently as possible.
If you have actually been following along considering that the start, you need to now understand how to play C, G, D, Am, Em, and Dm chords– and how to switch in between some of them. This week, you focused on the I– ii progression in the secrets of C and G major. One song that makes excellent use of the I– ii in C is Lucinda Williams’ “Am I Too Blue,” which likewise incorporates another chord you currently know, G. Practice these moves up until next lesson, when I’ll reveal you how to change in between the I and vi chords, also in the keys of C and G.