Magnify begins. As we saw on the session list, we will continue to expand our chord knowledge base, push farther into scale forms, and learn some new notes for reading.
Let's put the basic E shape to work in some progressions.
Here, we need to remember where these chords are located. Memorize what the names are for these chords!
This second progression is the intro to Jane's Addiction's Ocean Size. Search out the tab if you desire to play it exactly as it is on Nothing's Shocking [arpeggiated on recording].
This is a sweet sounding progression. This one is in the key of E. The E is the I chord; the A is the IV; the B is the V.
As with everything, experiment with these all of these chord voicings [even the scary movie chords!], and make up your own progressions.
We previously moved a fragment of this chord shape. Now, we are going to build a full version = add the 3-2-1 strings. The chord components (R-3-5) are included. We get to memorizing these, as they are the basis for modifications (mods). To play this full version, we will use a bar [barre]. In guitar fingerings, when we fret the same fret, on different strings, at the same time, this is a bar. Like the word 'fret', 'bar' is a noun and a verb [and means other musical things - see notation and 12 bar]. When we bar, we can press the whole fret space, or only some strings. We don't have to press all 6 strings. Every chord, especially a bar type, has a hand shape [angle, points of pressure]. Any bar can be a hinge bar [I believe all bars are]. Hinge bars are toggling tones within a bar. More on this later. For this chord, we press the tip of the 1 on the 6 string, used a curved finger, and press just the 2 and 1 strings with the middle knuckle. This conserves hand power. To get into this bar shape, we can lay our 1 finger across the nut [using 3, 4, and 2 fingers fretting 5, 4, and 3 strings respectively for fretted tones] as it will cover all the stings once we move it [this will be barring]. We don't have to do this ['bar the nut'], but it definitely shows us how this chord is structured, and gives us a movable fingering.
In this last session series of Magnify, we will move the scale form based on octave 54 (scale form 54, C Major scale at the nut) up the board. Just as we can move the pentatonic scale shapes, we can do the same with Major scale patterns [or any closed system]. We first played the C Major scale in this session. We've moved the whole shape up one fret. What were opens are now 1 frets. The D♭ scale is in a fixed position in P1 [fingers match the fret numbers], unless we are using 3 tones per string. If 3 tones per string, we shift to P2 on the 2 string. As with any closed system, when we move it, it maintains its quality; its musical meaning. In this instance, all of the scale components are in the same relative position. 12 for 1 = movable to every position → 12 Major scales.