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We should already have the naming for string 6, but let's double check. We've chosen the tone names for the sharps/flats which correspond to the Major chords [when we modify this form to a minor, some of the root names change]. Once we get into a shape, it can be shifted to every position. 12 things, for knowing 1 thing, is good mileage. And, 3, 4, & 5 string versions are available; some fretted with individual fingers. Sometimes this full version [6 string version] can be called a power chord, whether fully fingered as shown, or fretting just the bottom tones [the 6 and 5 strings - and the 4 string can be added as well]. Yet, the term power chord has come to mean just the R5 types, in common usage.
1st 2+ min → C G F G | Last minute = F C Dm C
Descend as well.C system at the nut, where we've done some work. When we use this fingering, it substitutes well for the Dominant 7. In this instance, it will sound as a V9 without a root. Strumming chord scales is the 'academic' angle. At the start of mapping keys, keep triads and 7ths chord scales as separate exercises. Play them in order. For the jamming part, strum it all...triads & 7ths mixed. We can also endlessly tone toggle any of these chords. In fact, playing the 7ths, as in this lesson, is already a tone toggle, a swap, a change, a mod. For fixed position chord scales, we now have C and G mapped triadically and in 7ths, at the nut.