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Author: Subject: Open E chord Shapes

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  posted on 8/21/2006 at 01:50 PM
I just wanted to start a post were we could share some knowledge on the ever tricky open E Chords, Glasslide showed these to me awhile ago..

Bbmin7
E ----6-------------
B ----6-------------
G# ---5-------------
E ---4--------------
B ------------------
E ---6--------------


Eb9
E ---6------------
B ---6------------
G#---5------------
E ---3------------
B ---4------------
E ----------------

if any body has any tips

 
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Peach Master



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  posted on 8/21/2006 at 11:07 PM
If you are playing those chords, I doubt you are in the key of E. I might capo at the first fret to be in open F. I take advantage of open strings whenever possible. Here are two:

Bbmin7
E ----4-------------
B ----6-------------
G#---5-------------
E ----6-------------
B ----X--------------
E ----X--------------

Bbmin7
E ---X----------------
B -----9-------------
G# ---9-------------
E ------9------------
B -----11------------
E ----X---------------

 

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  posted on 8/22/2006 at 09:13 AM
offcourse im not in the KEY of E im in a Open E tuning, .. do you know any useful shapes, perhaps for a maj 7 or a #minor9 ?
 

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  posted on 8/22/2006 at 09:48 AM
quote:
offcourse im not in the KEY of E im in a Open E tuning, .. do you know any useful shapes, perhaps for a maj 7 or a #minor9 ?
I have put many years into knowing my way around open E, D & G tunings. Maybe I can type a chord chart in a word processor some time.

[Edited on 8/22/2006 by bendaway]

 

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  posted on 8/22/2006 at 12:55 PM
that would be great, I aprectiate your help
 

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  posted on 8/22/2006 at 01:38 PM
Skydawg#8 if you would put a little time scrolling back through the posts there has been a site you can go to which offers chord shapes in different tunings. A little overall theory knowledge wouldn't hurt either i.e. a minor chord is a major chord with a flatted third, a major seven is just adding the note directly below the tonic on whatever chord you are looking to construct.

 

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  posted on 8/22/2006 at 01:41 PM
quote:
A little overall theory knowledge wouldn't hurt either i.e. a minor chord is a major chord with a flatted third, a major seven is just adding the note directly below the tonic on whatever chord you are looking to construct.

I would never learn anything about music if people didn't dumb it down like this.

 

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  posted on 8/22/2006 at 09:34 PM
Nobody can dumb it down like me, Marley. Ask my wife. Lol!

 

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  posted on 8/23/2006 at 12:44 PM
sorry Charles didn't mean to offend you by asking a question, Granted we all would love to know as much about theory as u sir, But ill countinue to ask stupid questions until i do, Me personally I learn by Watching and undersatnding shapes, Has for the the past sites ive checked many of them ie. http://www.looknohands.com and chordfinder.. great sites, but when i get to the chord charts its a puzzle to me how to finger them,
Bendaway gave a perfect example, and I aprectiate it..

Any Advice On Maj7


 

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  posted on 8/23/2006 at 02:28 PM
An A Maj 7 in open E tuning:

e----------4-----------
b----------5-----------
F#--------5-----------
E----------5-----------
B-----------------------
E-----------------------

Happy? You didn't offend me in the least. If I came accross like a pompous ass, then I apologize. I thought you surely would be able to perceive me poking fun of myself in my reply to Marley. Oh well ...... Any of the little bit of rudimentary music theory that I've come to possess, generally from asking stupid questions, is yours or anyone elses on this site for asking. Sometimes though I perceive some of the requests here (Not yours) as I'm too lazy to put any effort myself (even to Google) into learning the answer for myself. Skydawg8, I'm sure you are a good player probably much better than I, but to state that you better understand shapes than music theory is ....well .... I can't really find the right word here to not come off sounding like a pompous ass. I'd wager that you possess a fair amount of music theory if you know that you can take that A Maj 7 shape and move it up 2 frets (higher) and you'd have a B Maj 7. You are almost a Bach if you know that you can move it up 3 frets and you have a C Maj 7! I assume you know how to make a Major Chord shape on the guitar. Well just add the note 1 step(fret) below the root of whatever chord you're making. This added note is the 7 th. The Te of Do, Re, Me, Fa, So, La, "Te," Do. Possessing that knowledge you can see that you can make at least 2 other A major 7's at that same vicinity of the neck:

e--------5---------
b--------5---------
F#------5---------
E--------4---------
B------------------
E------------------

e-------------------
b--------5---------
F#------5---------
E--------4---------
B--------5---------
E-------------------

Now don't confuse a Major 7 with a Dominant 7 or 7th chord used throughout blues music especially Allman Brother's music. That is simply the major chord with a flatted 7th, 2 steps (frets) down from the root. Can you figure out what that is? If you made this chord then you're correct. Derek Trucks uses this shape all the time. An A 7th in open E:

e-------3---------
b-------5---------
F#-----5---------
E-------5---------
B------------------
E------------------

I sincerely hope this helps.

[Edited on 8/23/2006 by Charlesinator]

 

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  posted on 8/23/2006 at 02:47 PM
Melissa in Open E

http://www.dickeybetts.com/modules.php?op=modload&name=XForum&file= viewthread&tid=788


 

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  posted on 8/24/2006 at 10:00 AM
Thanks Barry, although I had some trouble with a couple of those chords. It did sound sweet! Perhaps we should put a Skydogsys thread here. All your tabs and hints are always good. Thanks alot.

 

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  posted on 8/24/2006 at 10:38 AM
quote:
Melissa in Open E
http://www.dickeybetts.com/modules.php?op=modload&name=XForum&file= viewthread&tid=788

Clicking that link just gives me an error, but I did go to that forum first and find the thread. Melissa in open D/E was discussed in this forum in March of 2005. Do a search for it. Below is a cut & paste what I posted there last year of chords in open-E:

0 = play the string open
X = mute (don't play that string)

A Major: 555555
B minor: X0767X
C#minor: X2002X
D Major: X3213X
E Major: 000000 (duh!)
F#minor: XX212X
G#minor: 44400X
Cmaj7th: X10300
B Major: X0234X
B7: X0210X


[Edited on 8/24/2006 by bendaway]

 

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  posted on 8/24/2006 at 12:58 PM
Thanks again bendaway. Great post Skydawg. This being lazy is cool.

 

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  posted on 11/19/2006 at 12:21 AM
bump

 

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  posted on 12/12/2006 at 11:24 AM
Here is a cool site for chord shapes in open tunings:

http://eceserv0.ece.wisc.edu/~sethares/alternatetunings/opentunings.pdf

They only show open "D" which we know if we are using open "E" transpose up a whole step. I hope this adds to the group knowledge.

 

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  posted on 12/25/2006 at 03:27 PM
I want to return to this topic yet again and say that it has probably become my favorite here in Shop Talk. For the longest time I've played exclusively out of "Open D" at least while at home on a cheap old Kamico F-hole guitar tuned to "Open D." Open D is a lot easier on your acoustic tensionwise whether it be a D-28 Herringbone or a Kamico like mine. And while I've yet to become a Duane Allman or a Derek Trucks or a Rod "the Bottle" Price for that matter. I'd love to share with y'all some of my findings and chord fingerings here. Skydawg8 I hope you return to check this topic because I'd like to appologize again for being sarcastically flippant in my initial remarks to you. I have found that yes there are some very cool useful pattern shapes in Open D/E (mostly three note diagonal shapes.)

OK just a little theory or at least my way of looking at things. First off you have a beautifully voiced major chord anywhere you put your index finger down on the fretboard of an Open D/E tuned guitar. But how do we get that same chord at some different places on the guitar other than one octave up or down from that position? Derek Trucks obviously has found a way. I believe it is chord partials or what I refer in this instance as chord partials. There are basically three types of chords: Major, Minor and Dominant 7's. It only takes 3 notes to make major and minor chords: the root, the third (or flatted third in the case on minors) and the fifth. Four notes for Dominant 7's: root, third (flatted for minor 7's), fifth and flatted seventh. And you can use just three notes for 7's as long as you include the flatted sevenths. Omitting even the root as long as it is implied within the context of your using that particular voicing i.e. starting out with a I chord then going to a I7. Anyways here are some useful chord partials out of Open D using Bendaways neat tab.

in Open D (DADF#AD):

C: X321XX
Cm: X311XX
C7: X121XX

C: XX567X
Cm: XX566X
C7: XX867X
or another cool 7
C7: XX543X

Combine these voicings with the ones from my earlier post using the standard one finger bar of all six strings and you've increased your open tuned chord vocabulary by 10 using patterns that Skydawg8 and many others dig so much. Not only that but all of these shapes can be made while wearing a slide. Oh yeah FOR THOSE TUNED TO OPEN E ALL THE PREVIOUS CHORD SHAPES WILL NOW BE D'S INSTEAD OF C'S. I sincerely hope this helps and that I've contributed something positive to the overall knowlege of this board.


[Edited on 12/25/2006 by Charlesinator]

[Edited on 12/25/2006 by Charlesinator]

[Edited on 12/25/2006 by Charlesinator]

 

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  posted on 12/30/2006 at 03:13 PM
quote:
in Open D (DADF#AD):

C7: X121XX
C7: XX867X
or another cool 7
C7: XX543X

all of these shapes can be made while wearing a slide.
The first two C7 patterns are actually incorrect. Use these triads instead:

C7: X324XX
C7: X786XX
C7: XXX678
C7: XXX112

The chords made by fretting three notes would be much easier when wearing a slide on your pinky, as opposed to the ring finger. I have always worn a slide on my ring finger.

 

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  posted on 12/30/2006 at 05:15 PM
Hey my bendable buddy thanks for the add, but ... I can assure you both:


C7: X121XX
C7: XX867X

are viable C7's. As I stated before the root doesn't need to be present in a chord partial for it to be implied. Play this progression and see what I mean:

C: X321XX

C7: X121XX

F: 333333 w/ bar

G: 555555 w/ bar

Also I can assure you that:

C7: XX867X

is very cool form to use as a 7. You can get a cool Don Rich country pulloff going by pulling the 6 and 7 fret off to open. Just to get you ear tuned to it, play this progression:

G: XX012X

G7:XX312X

C: X321XX

D: 000000

I haven't had the time to mess too much with your shapes but I do like these:

C7: XXX678
C7: XXX112

better than the other two you gave. And I wholeheartedly concur with your statement:
quote:
The chords made by fretting three notes would be much easier when wearing a slide on your pinky, as opposed to the ring finger. I have always worn a slide on my ring finger.


I don't have too much trouble fretting these chords with a slide on my ring as unorthodox as it may seem. Thanks again for the add bendaway. I've been dying for some feedback. Wish Skydawg8 would drop by and check out what he's started.










[Edited on 12/30/2006 by Charlesinator]

 

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  posted on 12/31/2006 at 02:44 AM
Charlesinator, we have a little different approach to the subject. Do whatever you want playing a C7 in open-D (or a D7 in open-E).

With the four note seventh chords (root, 3rd, 5th & 7th), the only note that is truly non-essential is the fifth. Play the fifth in a four note chord or leave it off for a three note chord, it doesn't make a huge difference.

 

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  posted on 1/2/2007 at 01:40 PM
Hey bendaway I have a little (very?) different approach to everything. Ask anybody who knows me. Lol! But I do want to say that I personally appreciate your sharing your hard earned knowledge with the rest of us concerning your endavors with Open D or E tuning. I know I've personally benefited from it. I'd encourage to continue to add to this discussion. No holding back your hot licks. Lol!

And forgive me for slightly disagreeing with you (yet again. Lol!) on your theory of essential notes for 7's. From a jazzer's POV the only essential notes are the 3rd and flatted 7. We are (or should be) aware of how to comp a blues in standard tuning using only two notes and a move of only a fret or two. In standard Key of A:

A7: XX56XX

D7: XX45XX

E7: XX67XX

In Open D Key of A:

A7: XX57XX

D7: XX46XX

E7: XX68XX

Again this is something you wouldn't want to nessicarily overuse, but a great barroom trick to get you through a chorus or two while the keyboard solos. Warren, Derek, Dickey, Jack use this vehicle all the time.

 

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  posted on 1/8/2007 at 12:26 PM
Damn , you guys really took the ball and ran with this one, thanks for keeping it going..
Especially you charlesinator, you've really opened my eyes on new ways of understanding, Ive got a lot of buddies that are jazz students and they talk music theory like gospel and ive noticed im starting to get in the conversations alot more, thanks to this forum ive been able to learn a couple real book jazz standards like autum leaves and my favorite things in open e , Im really starting to dig learning some of those old jazz standards , im starting to learn alot more chords and some of the voicings I can get in open tunings

 

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  posted on 1/9/2007 at 01:27 AM
Great to see you back Skydawg8! You started this killer thread and I've learned so much here myself. Hey it's your turn to share. How do you do "Favorite Things"? That is a very cool standard. I've heard the ABB interject snipets of it in their solos. I believe Duane may have been the first. I know i've heard both Warren and Derek do it with the ABB and with their bands. As far as playing in Open D or E, I'm not very far removed from I, IV, V blues and my slide blues sounds more country than uptown.

 

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  posted on 1/10/2007 at 01:27 PM
All right here's another cool thang I've stumbled upon out of Open "D." First of all let me bore y'all again with my way of looking at things and why. I play mostly blues - simple I, IV, V stuff. Started out that way and still going strong. I distinctly remeber my 30th birthday. Oh it seems like yesterday. My girlfriend (now my wife how did that happen?) at the time took me to the Double Door to see Luther "Guitar Jr." Johnson and the Magic Rockers ( or was it House Rockers?) Anyway their rhythm guitar player with his cigarette hanging out of his mouth would comp entire choruses of the blues just barely moving his hand. Often times changing just a finger to get a cool IV from a I and he could do this from just about anywhere on the neck any key. He'd play a chorus in one postition for a while then move his hand somewhere else and play for a while. All the while cigarette hanging from his lip cooler than one of those cold and frosty Budweisers that I was pounding all that night. Well long story short ... I've long since given up Cigs and Buds (beers that is ) but I still love to find where to comp I, IV's & V's in just one position all over the neck. This helped me so much in regular playing and is helping me now in open tuning. Here goes:

Open D key of G

G: 555555

C7: XX543X

D: X543XX

D7: X5433X

Hey Skydawg notice how the D and the C7 are the exact same shape just move up a string! Not only that, but when you are soloing with the slide in open D in the key of G around the fifth fret box, if you target some of those chord tones during the changes, you actually sound pretty good. Like you know what you are doing. Lol! This was second nature to Duane. And Derek uses these shapes all the time when he comps sans slide. Hopefully this will become second nature to moi.

Here's another cool V to I change in open D

Open D key of G:

D: XX435X

D7: XX433X

G: 555555

Again all these shapes can be moved around the neck and transposed to different keys. So you can play out of ANY key out of open D(or E.) Man that's light years worth of change from when I first messed with open tunings all those years ago.



[Edited on 1/10/2007 by Charlesinator]

 

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  posted on 1/14/2007 at 06:38 PM
heres How I do " My favorite things" In open E ,
I do the real Book Vol 1 version

heres the chords broken down a bit

R F M P
E-7 : 12,X,10,11,12,X < note: this is the same shape as the " For My Brother"
Chord that Derek uses alot


R F M P
F#-7 : 14,X,12,13,14,X < same shape as E-7 just move up a whole step


M F R M
Cmaj7 : 8,X,7,8,8,X <also try moving your first finger to the 6th fret low b string

R F-------F
A-7 : X,10,8,8,8,8 < Ring finger on 10 fret, Bar 8th fret with first finger

M F R P
D7 : 10,8,X,10,10,X

P M F R
Gmaj7 : X,8,7,6,7,X < this shape is a little tricky with the pinky on the root

M F R P
Cmaj7: 8,6,X,8,8,X < not sure if chord is right but i enjoy the voicing after the Gmaj 7


F M R P---P
F#-7b5 : X,7,8,8,10,10 < bar 10th fret with pinky

M F R P
B7 : 7,5,X,7,7,X

it pretty much goes in that order but Ill try to spell it out a bit better


E-7 , F#-7, E-7, F#-7 Cmaj7 ------ Cma7
repeat
E-7 , F#-7, E-7, F#-7 Cmaj7------ Cmaj7
Change
A-7 , D7, Gma7, Cmaj7, Gmaj7 ,Cmaj, F#-7b5, B7
< note: when comping these chords I like to slide in with my root before plucking the top part of the chord

I think theres a change in the middle but thats all I really know, I hope its some help to someone out there, and if its wrong somebody let me know so I can learn it right ..

























 
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