C Chord Form Basic Mods
Basic mods include CMaj7, C7, Cmadd9, Cm7, Cadd9, Cadd9♯11.
With this tone set [E, G, A, B, D], play every tonal combination possible in P1. It's not infinite [though what we can do with them is]; eventually, we do run out of options. This is 'exhaustion'. We discover a bunch of resonant chords, many which are commonly used. The Em is complete [E-G-B], even Em7 [E-G-B-D]. The G triad is also complete [G-B-D]. We also find some incomplete chords. The B type chord is a 5th-less minor 7 [no f#]. The D type is a Dsus9 [no f#] - or just D5. The Am is Asus9 [no C] - or just A5. Double-stops - 2 string chords are also endlessly workable. For every string couplet there are 4 options. Example: 2 & 1 strings = 00, 03, 33, 30. Try triple-stops too - 3 string chords. We can also play triple-stops [3 string chords which may or not be complete triads]. We don't necessarily name everything we find, though we can do it. Many of the fingering possibilities manifest as changing elements, aka melodic tone toggling. While strumming a chord, we include melodic elements.
Start on lowest root, play to highest, then to lowest, then back to the root. The key of G has one sharp...F♯. So, it is one tone different than C Major [all of the Fs have been "moved" to F♯s]. Get this scale in the hands...train. Then jam a bit with it. Next, we will learn the chords which come from this scale.
Reminder: this is a scaffolding process. Set it up – build, then 'remove' (move to pure knowledge). We first worked with the form in Easy Way to Move the C Form. We mentioned that the C form, like the G form, have a R-3 bass/base. This is in contrast to the E, A, & D forms which have a R-5 bass/base. This R-3 base in the C shape translates to a bunch of 5th-less movable chords (the 5th can be included on the 6 or 1 strings). We saw that we can move the C shape 'as is', in 3 different ways. We also saw that we can play a fully closed system which works in any/every strain-less position (inside 4 strings only). Let's now include string 1. And, we'll move it 2 frets to D. We don't bar the nut like this usually (in zero position), but by doing so, we can see how the fingering is built - how the architecture works.