Guitar/Translations
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This babelfish translation is taken from the German wikibooks. Much of the formatting is lost, but the translation is so terrible that it is almost for the best. Please take whatever information, and merge it into a place where it is most appropriate.
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[edit] introduction to open chords
The simplest all chords on the guitar are the "open chords in such a way specified". Thus it is meant that only the most necessary strings are seized and the chord develops with the help of as much as possible empty strings.
It is sufficient perfectly to develop a company from few open chords around the first Songs to darbieten to be able. The first grasps, which one should learn, are the chords C major, G major and D major. Subsequently, the chords A-Moll ,e-Moll and D-Moll should follow. Thus it is already possible to play some songs in the kind of clay/tone G major.
Here it is to be marked that there are naturally still numerous other grasp variants for the chords presented here, but for the entrance the following chords are already learning expenditure enough.
The fingers are marked here for German-speaking guitar players simply with ZMRK (show -, means -, ringfinger and small fingers).
One should not be surprised however, if in other books the designation pima or 1234 is used. This is the international designation, which both an Australian and a south American or Italiener should understand. Thus one in the future with these different designations something to begin can: here a small confrontation: Abbreviation of Spanish[ 1 ] Finger alternatively dt. p pulgar Daumen D i índice Zmore eigfinger Z m medio Mmore ittelfinger M A Anular Rmore ingfinger R q meñique kof leiner fingers K
Example
Akkkord H7 for guitar in English and German-language version
(separate this section!)
The advantage of the international designation is in the much shorter discussion. If one tries to explain a PULLING SAMPLE "German":
"plays Daume, index finger, middle finger, ringfinger, middle finger, index finger"
then one already forgot after the "announcement", what is to be pulled as! Even "Daume, shows -, means -, ring -, means, shows" is not much better.
On the other hand is is simply unbeatable "p-i-m-A-m-i".
p-A-m-i or i-m-i-A-p - everyone can the other one, even if it speaks its "native language" only rudimentarily, mediates, which one would like to play straight!
The e-guitarists do not orient themselves only at the Ton(namen), as Plektrum players need this a "RH-HECTAR" of finger designations.
[edit] the first Dur chords
All Dur chords have one together: They sound simplified said: merrily, clearly, brightly. One can differentiate generally quite well between Dur and Moll. It is important to really hear itself the sound of the mode "Dur" to internal and exactly how each individual chord sounds. Only like that later a safe distinction of the different grasps is possible, if it concerns to know songs alone by hearing sequels. The D majors chord is simple to seize, however the e-bass (6.) and A-bass (5.) string may not along-sound here. If one would like to play one fuller sound and but all six strings on "unity", one sets the clay/tone F # (Fis) on the deep e-string in the II as "auxiliary clay/tone". Federation! (more..der 1. Finger on the Fis sixth string, 2. Finger on the third string, 3. Finger on the second string and the 4. Finger on the first string!) One plays a D major with Fis (with the third) in the bass. Also without basic clay/tone in the bass (D-string) this variant sounds. The grasp D major Thus the chord is seized:
The 1.(Z =more)eigefinger presses the g-Saite(3.) in the II. Federation, the 3.(R =more)ingfinger the h(englisch=B)-Saite(2.) in the III. Federation, the 2.(M =more)ittelfinger the high e-Saite(1.) in the II. Federation. The G majors chord is not completely simple at the beginning to learn, since above all the small finger is not sufficiently strong usually enough, around the 1. - the e-string - to be able to seize with the necessary pressure. As "schlag-Gitarre" all strings may sound simultaneous. The grasp G major Thus the chord is seized:
(Mmore)ittelfinger must the A-string in the II. Federation low pressure, (Rmore)ingfinger presses the deep e-string in the III. Federation, (k)leine fingers reaches the high e-string into the III. Federation. The C majors chord is easier by his relatively simpler finger arrangement to learn. With this grasp is important not to let sound by omitting the deep e-string! (e-guitarists: One can do that through steams of the deep e-string by easy affecting (not low pressure!) with the ringfinger on the A-string manage) or one sets the clay/tone G as "auxiliary clay/tone" on the 6. String in the III. Bund!(... the ringfinger is replaced by the small finger, the ringfinger sets on the 6. String) that is harmoniously not completely correct, but very practical and in the "play" as "Begleitgitarre" very helpfully. The grasp C major Thus the chord is seized:
(Zmore)eigefinger reaches the 2.(b)-Saite into the Ith federation, (Mmore)ittelfinger the 4.(d)-Saite in the II. Federation, (Rmore)ingfinger the A-string in the III. Federation.
[edit] the first Moll chords
Also Moll chords have a community: They sound contrary to the Dur chords all rather softly (word meaning of Moll) or - dark, and are therefore well for sad, schwermuetige, melancholische or sensitive melody passages suitable. In addition, they can ring out as preparation to that, (clearly, brightly, merry hard sounding) Dur chords. Is important also here to sound themselves and compare the sound of the mode "Moll" to internal and with the Dur chords! E-moll the chord: A simple grasp attitude. Only two fingers are needed and all strings to be allowed to do with the notice to sound. E-moll the chord Thus the chord is seized:
(Mis more)ittelfinger for the A-string in the II. Federation responsible, (Rmore)ingfinger reaches the D-string into the II. Federation. A-moll the chord: One may not fasten the deep e-string. A-moll the chord Thus the chord is seized:
The 1. (Zmore)eigefinger depresses the h-string in the Ith federation, the 2. (Mmore)ittelfinger the D-string in the II. Federation, the 3. (Rmore)ingfinger the g-string in the II. Federation. D-moll the chord: The e-bass-string do not pull/fasten. D-moll the chord Thus the chord is seized:
The 1. (Zmore)eigefinger reaches the high e-string into the Ith federation, the 2. (Mmore)ittelfinger the g-string in the II. Federation forwards, the 1. (Rmore)ingfinger presses the h-string in the III. Federation on the griffbrett. The A-string does not have to be avoided with striking necessarily, but the bass note is the empty D-string. Particularly when pulling one must pay attention to it. The A-string may be used however as change bass with.
[edit] summary
In this chapter the six most frequently occurring chords on the guitar were treated, three of it in the mode "Dur" and further three in the mode "Moll". If these grasps are controlled surely, it is recommendable to practice the changes between the different chords. This has the purpose to receive a hearing for the different chords.
The Rhythmik may not come naturally too briefly, but is received more in greater detail on her in one of the following chapters. Particularly for rhythmic reasons it did not operate also surely to procure themselves and directly try a song book to use the learning.
Even if at the beginning much should sound "inclined", one may not to be confused not be able and must practice until the existing weaknesses are perfectly as eliminated as possible. Only then one should think to learn new chords.
[edit] open chords for progressing
There are naturally still numerous other open chords than those, which are described in the chapter "introduction to open chords" on the guitar. Who already controls the grasps illustrated there, soon also songs in other kinds of clay/tone to play will want, than the grasps shown there make it possible.
[edit] further Dur chords
In this chapter is to be described now, which simple open chords to still exist and how one plays it. Who asks itself, which kinds of clay/tone are made possible thereby which should look up in the chapter "the Quintenzirkel". The chords shown here unfold their possibilities only completely in connection with the "adjustable chords". Since they represent however the preliminary stage to the reaching into the following chapters, they should be nevertheless absolutely learned, before one continues with the learning of other chords. The E majors chord is easy to learn, since it is nearly identical to the A-Moll chord. The grasp E major Thus the chord is seized:
The index finger reaches the g-string into the Ith federation, the middle finger is for the A-string in the II. Federation responsibly, the ringfinger presses the D-string likewise in the II. Federation down. With this grasp A major is to be made certain that the deep e-string may not be fastened. The grasp A major Thus the chord is seized:
The index finger presses the D-string in the II. Federation down, the middle finger takes itself the g-string in the II. Federation forwards, the ringfinger does the remaining on the b-string in the II. Federation.
[edit] summary
The two open chords E major and A major are already the preliminary stage to the adjustable chords and the Barré grasps. The latter grasps are however only treated in the volume II of this manual, since they represent an enormous hurdle for each beginner and thus only for progressing become really interesting. From this basic, itself the grasp picture of these chords is recommended here well to internal.
[edit] the first chord extensions
We learned already open and adjustable chords in Dur and Moll to know. These grasps represent however only the foundation of the rhythm guitar, because they sound somewhat colorless in the long term. Over in this point remedy to create one uses chord extensions (Chord extensions). One can change an extension already through, adds or omits only one finger position in a grasp thing to reach, on which we will be also limited this chapter.
The grundakkord consists of only three different tones. Since there are however altogether 11 available tones in our clay/tone system, one can still add a chord or several of the remaining 8 notes. Whether an extension makes sense depends exclusive on whether the added notes insert themselves into the harmonious situation. Around suitable chord extensions to find to be able therefore something theory from the preceding chapter "entrance is into the harmony teachings" necessary.
[edit] chords with Sept extension
The Sept extension adds a complete, 3-stimmigen chord still another fourth clay/tone. Thus the Sept chords are the first 4-stimmigen of chords, which we want to learn.
* The Dur Sept chords belong actually already to the progressing chapter "modale chords", but they are necessarily for the Blues play compellingly and also really not difficult to learn. Their sound is very much dominant, therefore they, if they are used as dominant factor, lead also again to the Tonika back. * The Moll Sept chords sound by far not as dominant as the Dur Sept chords, but but they sound themselves substantially openly and more jazziger. In addition they can be used in nearly each place, in which a normal Moll chord stands, because it do not lead back also as dominant factor compellingly to the Tonika.
Whom it notices that despite adding a note with most grasps of no more fingers are needed, lies naturally correctly. The cause for the fact lies in the fact that for a 3-stimmigen chord only three strings would actually be necessary. So that the chords sound however fuller, one repeats some intervals simply. So one can exchange a twice occurring interval easily against the seventh, without also only one of the three notes of the origin chord is missing.
[edit] Dur chords
G7 Bild:G-Dur-7.jpg The origin of this chord is the G major grasp. Only the high e-string changes. C7 Bild:C-Dur-7.jpg The origin of this chord is the C major grasp. Only the g-string changes. D7 Bild:D-Dur-7.jpg The origin of this chord is the D major grasp. Only the b-string changes. E7 Bild:E-Dur-7.jpg The origin of this chord is the E major grasp. Only the D-string is omitted and sounds empty. A7 Bild:A-Dur-7.jpg The origin of this chord is the A major grasp. Only the g-string is omitted and sounds empty.
[edit] Moll chords
Em7 Bild:E-Moll-7.jpg The origin of this chord is the e-Moll-grasp. Only the D-string is omitted and sounds empty. Am7 Bild:A-Moll-7.jpg The origin of this chord is the A-Moll-grasp. Only the g-string is omitted and sounds empty. Dm7 Bild:D-Moll-7.jpg The origin of this chord is the D-Moll-grasp. Only the b-string is shifted and seized together with the high e-string (with Barré).
[edit] chords also quart-reproach
Both Dur chords and Moll chords can be changed by one quart-reproached. The klangliche result is alike.
In order to emphasize the relationship with the origin chords better, the notes which can be changed are grey represented in the grasp diagrams. These notes are not to be seized naturally!
Which distinguishes a sus4 chord is the fact that the third (3) of a chord is replaced by the quarte (4). The symbol sus stands thereby for suspended which refers to replacing the (3) by the (4).
In the following grasp pictures the thirds are grey underlaid represented. The quarten are with Dur chords always a half-tone more highly! (with mol lacquer medals the quarte a complete clay/tone step lies over the third.) Gsus4 Bild:G-sus-4.jpg The origin of this chord is the G major grasp. Csus4 Bild:C-sus-4kor.jpg The origin of this chord is the C major grasp. Dsus4 Bild:D-sus-4.jpg The origin of this chord is the D major grasp. Esus4 Bild:E-sus-4.jpg The origin of this chord is the E major grasp. Asus4 Bild:A-sus-4.jpg The origin of this chord is the A major grasp.
[edit] empty string sounds
If one shifts open chords and lets the empty strings nevertheless sound, then so-called empty string sounds ( English open stringer Voices) develop. The large advantage of these grasps is that one can create sounding chords on the guitar at relatively little expenditure very complex.
Guitarists such as John Petrucci (Dream theatre) or Steve Vai point these chords in many pieces, to what unusual sounds are able. The main difficulty consists of developing a good concept for orientation with these grasps. One must be already capable of designating these multi-sounds also really around it finally harmoniously correctly to begin to be able.
