A Chord Form +2 • B Type Chords
B type chords B Major, B5, Bm, BMaj7, B7, B(♭6), Bsus9, Bm7.
First, we move the shape, as is, fret by fret, leaving the 6, 2, & 1 strings open. At each fret, let's make a thumbs up or down for the way the chord rings.
For thumbs up, the chord will need to resonate in a way that is somewhat consonant. For thumbs down, it will sound like a scary movie chord. Thumbs down doesn't mean unusable, just dissonant. The scary movie chords, when arpeggiated, can sound pretty cool. For our purposes here, we are thinking about strumming.
These chords are labeled by the tones which are being fretted. Obviously, with the 6, 2, and 1 strings ringing, some of the chord names will be different. The exception is the E chord. We aren't overly concerned with their technical names; we are just seeking out cool sounds. Many of them actually work for what they are named. Example: G is actually a G6/E, but will work fine when we see a G. We've chosen flat names for the sharp/flat. Most of the sharp/flat Major triads have flat names [F# and Gb are both].
If the system is closed [no open strings/only the 5, 4, & 3 fretted], the chord name is the name of the chord, & the chord will sound fine everywhere.
On some, like the F, we can control the low E with our fretting hand thumb. By doing this, we can not let it ring as loud, or mute it out completely.
In this session series, we will move scale form 64 (G is lowest it goes). For the 7 Major scale forms, we previously moved 54. We first played the G Major scale in this session]. We’ve moved the whole shape up one fret. What were opens are now 1 frets. The A♭ scale is in a fixed position in P1 [fingers can match the fret numbers], unless we use the 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.
Once we know these addresses, we use formulas to modify components → build other types.These are the main mods which we can use to create other types of chords from the G form.