A Major & minor Chords

In this set of triads, we will move the Bm shape to the C#m (fret 4), rather than use a C form (with a flatted 3) for the C#m.

We have a majority of bar chords here as well (I, ii, iii, IV, vi) - keep in mind that you can use fragments or smaller pieces of any chord.

Barring

In A, the most difficult chord to fret is the F#m. Remember, that you can fragment it. If you do decide to bar the entire chord, only press the index fingertip & the part of your finger that falls over the 3, 2, and 1 strings. The index should be slightly curved or rounded & leaning slightly on the bone edge.

Natural minor

The guitar chords in A minor are comprised of the chords that are in three forms of the minor: Natural, Harmonic, and Melodic.

Natural minor is the same tone set and key signature as its so-called relative Major. For Am, it's relative Major is the key of C major. The difference is that rather than C being the I chord, Am is the i (minor one chord). Am is the vi in C, and is C's relative minor (relative, natural, and pure - can mean the same thing). This is a tricky and somewhat outdated way of thinking about keys, yet this way of understanding minor keys is still discussed.

For Natural minor, when Am is 'renamed' the tonic (the one chord), all of the other chords are renumbered as well. In reality, A minor is a modification of A Major.

Harmonic minor

When we play in the Natural minor, it isn't possible to create a strong A minor tonal center. The tones of C Major tonify the tone C and the chord C Major, not the tone A and the chord A minor.

To create A minor as a resting place in our ears, it is necessary to have a leading tone. The leading tone to an A is G#. To get this tone, we raise the 7 from the pure or relative minor. This creates a leaning into A as the tonic. Along with the D, we have the makings (the tritone) of a key center with A being the tonic. This also makes the V chord a Major chord (and a dominant when 7th is added). This is important in harmony. It creates finality and magnetizes the ear to the tonic chord. Thus, the name of this minor mode is harmonic minor. Harmony is more progressive and strong with a leading tone in the mix (and consequently a Major V chord - the middle tone).

The gap between the 6th and 7th degress of the harmonic minor produces a very distinct and memorable sound.

The Melodic minor

The '3rd form' of the minor is called Melodic minor (the melody minor - even though both other forms can be used melodically and harmonically as well).

Together the 3 modes or forms create a large family of chords, modes, and sounds that we call the minor key.

The plus sign (+) = augmented = #5.

Notice that the Melodic minor is the Major scale with a flat 3rd.

Parallel Scales

Total Group

• i = Am
• iio= Bo
• ii = Bm
• III [can also be called bIII when paralleled to A Major] = C
• III+ = C+ (C Augmented) - [can also be called bIII+ when paralleled to A Major - this is where it gets tricky]
• iv = Dm
• IV = D
• v = Em
• V = E
• VI [can also be called bVI when paralleled to A Major] = F
• vio = F#o
• VII [can also be called bVII when paralleled to A Major] = G
• viio = G#dim (G#o)

These are just the triads. The family expands when we create 7ths and extended chords.

And, keep in mind, there isn't a universal agreement on any of this.

• We first get all of the chords in our hands. We take our time; make the connections.
• We then play the chord scale ascending and descending. We play chords as we do scales [alphabetically]. We can use any beat count or motor hand technique.
• Next, we play progressions and/or songs that are in the key. We also keep in mind that the voicings shown for the key are but one way to play any particular type of chord. See the CAGED cluster for more options. Different styles favor certain voicings, and in a way are defined by the types that are used.
• As always, we write progressions. This process of arranging chords in our own order, and/or common sequences, is the genesis for writing our own songs. Start this process from the beginning.