CHORD SPEED

[Steadfastly]

Just wondering if any of you have any tips on speeding up my chord speed. I just know you're going to say: "Practice, Practice, Practice".

[makingbeds]

do you mean the speed with which you change chords?

 

if so, my teacher suggested that i just change chords repeatedly while doing something else, like watching tv. you dont even have to strum, just make your left hand keep changing between two chords for a while, then two more, and so on. This is surprisingly successful.

[Jasco]

Just wondering if any of you have any tips on speeding up my chord speed. I just know you're going to say: "Practice, Practice, Practice".

If you already know the answer, why did you ask the question?

[RedYagiDY]

Find a strumming song that you like and just practice that, then find another one with some diffrent chords, try learning the chords in the context of a song. Oh also Practice, Practice, Practice no way around that part.

[Knottyhed]

Just wondering if any of you have any tips on speeding up my chord speed. I just know you're going to say: "Practice, Practice, Practice".

Yeh - practice, practice, practice

Of course how you practice can help you get there a bit quicker.

A couple of things I tell people to do is

1.) When learning a new chord shape - form the chord. Strum. Correct the fingering if it sounds bad. Lift off. Form the chord again. Strum. etc. As you get the hang of that. Get out the metronome and start trying to do it in time to metronome - start slow, go faster until the chord is second nature.

2.) When changing between chords that you already know - just set up a metronome and change between the chords on the beat. Find a pace you can do it at and slow move up the BPM.

Its the same with anything you have a problem with. Focus on practicing the problem as much as possible in the shortest given period of time (i.e. invent an exercise) and use a metronome to make sure you can do it in time/in a controlled way and build up speed.

[Jed]

Well of course the answer to any question about how to improve includes "practice, practice and more practice", but not all types of practice are equally effective.

I spend significantly more time on my chord work than on any single-note stuff. When you think about it, chord work is magnitudes more difficult physically and mentally than single notes. So it's not surprising that it's so challenging to learn to do well.

Since there are more notes involved at one time there are also a tremendous number of variations / voicings to learn and of course these have to be internalized both in terms of multiple voicings of individual chords as well as all the variations of transitions from some voicing of one chord to any of several voicings of the next chord.

Makingbed's suggestion to practice changing chords while doing something else is good but only deals with one aspect of chord work - specifically the coordination of fingers between a couple of voicings. Even for this part it's important to play to a metronome and go slowly. It's always better to practice doing something well slowly than badly at speed.

My suggestion would be to start small. Possibly with all the inversions for the three most common triad types (major, minor & diminished) on just the DGB string set. But don't just learn them, . . completely internalize every aspect of every inversion for each of these chords in all twelve keys on just these three strings.

Practice them as one triad - in all it's inversions moving through the diatonic progression in scalar fashion ascending, scalar fashion descending, ascending by diatonic thirds, descending by diatonic thirds, ascending by diatonic fifths, descending by diatonic fifths and of course through all twelve keys. Later, practice them as the diatonic progression, in each inversion, ascending and descending in scalar, by diatonic thirds and diatonic fifths,

Don't just practice the forms - force yourself to say and see the individual notes in each voicing, see the scale degrees as well as the intervals between the chord tones and between sequential chords.

Once you think you've learned everything you can (as opposed to all there is to learn) from the triads on the DGB string set (which could take over a year), switch to the ADG string set and repeat the same process. The trick I think is to master these simple things in all keys and all variations rather than try to "know" too many different things at one time. Most people try to learn too many things at one time, believing that the more stuff they know the better they will play. I believe playing well is about being able to play the simple stuff in every possible variation, in any key, any where on the neck, at any time without hesitation.

cheers,

[Li Shenron]

do you mean the speed with which you change chords? if so, my teacher suggested that i just change chords repeatedly while doing something else, like watching tv. you dont even have to strum, just make your left hand keep changing between two chords for a while, then two more, and so on. This is surprisingly successful.

Surprising indeed How do you know you're still playing those chords properly if you don't even hear the sound of them?

[Steadfastly]

If you already know the answer, why did you ask the question?

 

 

Because this is one time I'd love to be wrong.

[Knottyhed]

Because this is one time I'd love to be wrong.

I'm afraid that ultimately almost every aspect of the guitar will ultimately boil down to that same answer

The best you can hope for is to avoid practicing the wrong things and practice the right things in as focused a manner as possible... not all practice is equal - I'd definately agree that whilst practicing whilst watching TV is better than no practice, it's not as good as focused practice with a metronome (not to say I've never sat in front of the TV running through scales etc. myself)

[Li Shenron]

The best you can hope for is to avoid practicing the wrong things and practice the right things in as focused a manner as possible... not all practice is equal - I'd definately agree that whilst practicing whilst watching TV is better than no practice, it's not as good as focused practice with a metronome (not to say I've never sat in front of the TV running through scales etc. myself)

Absolutely, and that is why I suggest to turn off the tv anyway. In any case, whatever you're watching very probably sucks and is a waste of time

I am not so sure about the metronome in the case of chords. If I have to practice a new chord change which is giving me problems, I spend all of the practice time in free tempo to make sure I nail down the best fingering and best finger-switching. If I were doing it with the metronome, there would be very high risk of being too focused on following the tempo rather than on the fingering being used, which may result in getting stuck with a less-than-best fingering... This is not a rhythmic exercise after all. But YMMV.

[Knottyhed]

Absolutely, and that is why I suggest to turn off the tv anyway. In any case, whatever you're watching very probably sucks and is a waste of time I am not so sure about the metronome in the case of chords. If I have to practice a new chord change which is giving me problems, I spend all of the practice time in free tempo to make sure I nail down the best fingering and best finger-switching. If I were doing it with the metronome, there would be very high risk of being too focused on following the tempo rather than on the fingering being used, which may result in getting stuck with a less-than-best fingering... This is not a rhythmic exercise after all. But YMMV.

You should have the fingering down before using a metronome - same as if you're practicing any other exercise, solo or song. Any music practice is a rythmic exercise! After all music is made up of notes and rythms. If you can't change chords in time with the music you will sound {censored}. In fact rythm is more important than the actual notes usually

[Jed]

We should keep in mind that there is a whole spectrum with single note melodies at one end and fully harmonized melodies on the other end. In between are two and three-part harmonized lines.

Chord work / harmonized lines are more complicated than single note lines, because you are playing two or more melodies at the same time. Fingerings have to be worked out in advance compared to single note lines where you can always jump around if you screw-up.

Even in lot's of popular solos there are many cases where dyads and triad comping are used to change things up. From my perspective, the most impressive expression of mastery on the guitar is the ability to improve harmonically.

It's a bit odd that the single note stuff gets so much attention when it's the polyphonic stuff that is a better measure of skill and command of the instrument.

cheers,

[RX-8]

Some great tips here guys...I'm just learning to play.

Thanks !!!

PS. Practice, practice, practice, practice, practice...

[ljcarr]

Some great tips here guys...I'm just learning to play. Thanks !!! PS. Practice, practice, practice, practice, practice...

I agree, but with being a newbie, both to here and to playing the guitar, I practice as much as I can, and I do use a lot of the techniques mentioned above, however one thing I do struggle with is not so much the speed of changing cord position (even though it is still very slow) but getting my fingers to land on the strings at the same time instead of place finger1, finger2,3 etc.
I assume its as above, make the the move slowly and precisely, making sure all your fingers land together and then slow speed this process up, and just keep practicing?

[jonPhillips]

 

I believe playing well is about being able to play the simple stuff in every possible variation, in any key, any where on the neck, at any time without hesitation.

 

Makes perfect sense to me. Thanks very much for a very illuminating post

[Jed]

I believe playing well is about being able to play the simple stuff in every possible variation, in any key, any where on the neck, at any time without hesitation.

 

Makes perfect sense to me. Thanks very much for a very illuminating post

[jonPhillips]

Start with major triad inversions (on just the DGB string-set) for the 14 major triads of the 12 common keys.

 

This is the only part of this superb post that I'm having trouble with. Where do the 14 major triads come from? I can only count 12 (or 16 if I count both enharmonic equivalents for each note).

 

Other than that, I have to say many, many thanks for such a comprehensive explanation. I'll be changing my current routine to boost the amount of time I spend studying chords and I'll certainly be using and adapting this excellent methodology for chord study.

 

I'm even thinking about expanding it to include 7th chords (the next logical step IMO)

[Jed]

Start with major triad inversions (on just the DGB string-set) for the 14 major triads of the 12 common keys. This is the only part of this superb post that I'm having trouble with. Where do the 14 major triads come from? I can only count 12 (or 16 if I count both enharmonic equivalents for each note).

Well, I really should tell you to list out all of the major triads in the 12 keys . . .
and you should be ashamed for asking me to do this for you but . . .

Each major key contains three major triads (from just the diatonic chords). These three triads are built off the root, 4th and 5th of the scale so for:

(any major key you get a major triad built off the root, 4th 5th)

B > B E F#
E > E A B
A > A D E
D > D G A
G > G C D
C > C F G
F > F Bb C
Bb > Bb Eb F
Eb > Eb Ab Bb
Ab > Ab Db Eb
Db > Db Gb Ab
Gb > Gb Cb Db

If you list them all out in ascending 5ths and eliminate the duplicates you get:
Cb Gb Db Ab Eb Bb F C G D A E B F#

I had to take my socks off to check but I think that's 14 different major triads.

One triad for each key name plus the dominant from the first key and the subdominant from the last key.
A similar thing happens with the minor triads but not with the diminished triads.
14 Major triads + 14 Minor triads + 12 Diminished triads = 40 triads.

cheers,

[jonPhillips]

Well, I really should tell you to list out all of the major triads in the 12 keys . . . and you should be ashamed for asking me to do this for you but . . . One triad for each key name plus the dominant from the first key and the subdominant from the last key.

You're right

[Knottyhed]

Cb Gb Db Ab Eb Bb F C G D A E B F# I had to take my socks off to check but I think that's 14 different major triads.

Put those socks back on Jed B is Cb, F# is Gb. If you elimate the duplicates you end up with 12 major chords. Which makes sense because there are 12 keys. I'm sure you have a reason for counting those chords twice, but I'm buggered if I can see what it is?

[Jed]

Put those socks back on Jed B is Cb, F# is Gb. If you elimate the duplicates you end up with 12 major chords. Which makes sense because there are 12 keys. I'm sure you have a reason for counting those chords twice, but I'm buggered if I can see what it is?

 

 

LOL - Knotty, it's the same logic as why we spell the major scales with one and only one of each letter name per scale. Enharmonic spellings refer to the same frequencies but not to the same notes (notes being defined by their note name in this case).

 

From the perspective of unique sound combinations of tonic and chord type, there are (as you said) only the 36 possibilities among all of the potential major scales. But from the perspective of notes names, notation and theory - their are 40 named triads among the 12 common keys.

 

I find it advantageous to be able to think "in key" regardless of the tonic. Typical harmonic progressions and intervallic relationships are easier to see and frankly it's faster in the long run to learn to think "in key", than to constantly switch in and out of key via the use of enharmonic spellings.

 

I am aware of the harmonic and melodic significance or various notes and chords as I play in any particular key. I have found this effect much easier to maintain once I learned to think in the 15 keys and stopped relying on the "shortcut" of using enharmonics to avoid notes like Fb, Cb, Gb, A#, E# and B#. All the theory of course still works even with enharmonics, but it's easier to see if we stay "in key". YMMV.

 

cheers,

 

Jed

 

PS I should add to Jon, that this post is not worth saving. It's just about suggesting a shift in our thinking. The specific exercises are not unique or special in any way. The core of the post is to suggest that knowing how things work in a theoretical sense won't help you play better, until you internalize that knowledge in all keys and all potential variations.

[FretboardStud]

Just wondering if any of you have any tips on speeding up my chord speed. I just know you're going to say: "Practice, Practice, Practice".

That's just it, you answered your own question. there's no secret to ANYTHING when it comes to getting better/advancing on guitar. Practice, practice, practice.

It baffles me that even though you KNOW the answer you're still wasting your time searching for magical tricks. No such thing so do what must be done, get a metronome, learn to grab the chord first then set metronome at a speed that you can play perfect without {censored}ing up 20 times then increase tempo by 2-5 when ready.

Learn 4 part harmony chords Major7s, CMajor7 all over the fretboard will make you a chord wizard in under a year..IF you practice. Grabbing a Cmajor7 with all it's inversions is harder than banging 18 year old virgin {censored}.

Any "jazz" chords (for those that don't know the proper name) will work. Pick out 4 shapes that use FOUR fingers and NO barre chords and work on that all over the fretboard. Go practice.

[FretboardStud]

Well, I really should tell you to list out all of the major triads in the 12 keys . . . and you should be ashamed for asking me to do this for you but . . . Each major key contains three major triads (from just the diatonic chords). These three triads are built off the root, 4th and 5th of the scale so for: (any major key you get a major triad built off the root, 4th 5th) B > B E F# E > E A B A > A D E D > D G A G > G C D C > C F G F > F Bb C Bb > Bb Eb F Eb > Eb Ab Bb Ab > Ab Db Eb Db > Db Gb Ab Gb > Gb Cb Db If you list them all out in ascending 5ths and eliminate the duplicates you get: Cb Gb Db Ab Eb Bb F C G D A E B F# I had to take my socks off to check but I think that's 14 different major triads. One triad for each key name plus the dominant from the first key and the subdominant from the last key. A similar thing happens with the minor triads but not with the diminished triads. 14 Major triads + 14 Minor triads + 12 Diminished triads = 40 triads. cheers,

Funny, I always thought that a Major Triad was comprised of the Root, 3rd and 5th of the parent scale. Example Key of C = Major Triad C, E, G and Minor Triad C, Eb, G. So the first example of B would be B, D#, F#.

[Li Shenron]

Also try telling a beginner that chords are simple and single note melodies are hard!!

 

 

That's true, but I believe that soon it becomes the other way around.