Ascending with a Tie
This is an experiment. We are taking a known and common shape and moving it, while leaving open strings ringing. This is similar with what we just did with the C shape [3 string open]. As we do this, fret by fret, we make listening judgments. Core idea: using our ear to make sonic judgement. And, using those findings to play/write progressions. As we move the shape, we ask "does this sound good [thumbs up = resonant, full, pretty] or like a scary movie chord [thumbs down = dissonant, tense, angry]?" We are making this judgement based on strumming it. Ultimately all of them work, but we want it to sound pretty while strumming to be a thumbs up. In live teaching settings, the result is that we agree on what is resonant and full and sweet sounding vs. what is dissonant, 99% of the time. We can do this with any shape or configuration. Keep in mind that if a closed system [all tones fretted] sounds good in one position, it sounds good in all positions. The open strings are what create an opportunity for sounds to mingle or argue.
At this point you should have triads and 7ths in the key of C and triads in the key of G.
And power chords are always available. Or, the full versions of the E Form.
And all of the chords in Shape Connect, but not all of the chords in this system have been played within the context of a key. We won't mention Shape Connect again. We are carrying it forward. You got it.
So far for pentatonics, we've played frames one & 2 in Em/G & frame one of Am/C. We'll continue to piece it together, frame by frame. In this session, we'll connect frame five to frame one in Am/C. We went 'forward' [up the board] for Em/G. For Am/C, we'll go 'back' [towards the nut] to frame 5. Frame 4 for Am/C is the heel of the 5 patterns, at the nut [for every key, one of them is at or close to the nut]. First, play frame 1 in Am/C, then see if you can figure out the tones [the same sounds] in P2. As mentioned, the whole board for a particular scale can be mapped in this way → using our ear.