Track Two provides more challenging changes, but still has some easy ones as well.
Track Two, Wave One's starter group [G, Cadd9, D, Em] can also be a solid starting point for most beginners. These connections are in the navigation tabs on this page.
Wave Two of Track Two includes E to B7, E to E7, Am to Bm, C to C7, C to G7, F to D, D to Dm, & A to A7
Remember, keep the strumming engine moving, hitting down-up continuously. Make the shape connections.
Videos for the changes are within the navigation tabs, along with puzzles, instructions, and tips.
Be a reliable rhythm player.
This can be a solid starting chord group for a few reasons. First, we are utilizing all four fingers for the G and Cadd9. Second, when we are successful with changing these chords, keeping the changes in time, we can play 1000's of songs. And, knowing these voicings, plus a capo, increases the number of playable songs considerably.
If this group proves too challenging at the start, return back to them after going through Track One.
And/or, try the EZ versions (4th navigation tab on this page).
It is okay to use a normal C chord for this group as well, yet all of our tabs which use a C type chord will demonstrate the Cadd9. In most songs where one of these two chords is written [either C or Cadd9], they are interchangeable, depending on the sound we are desiring to hear. It is okay to use Cadd9 even when a C is the chord written on a lead sheet [and vice versa].
Cadd9 is named such because we have added the 9 [D tone on 2 string, fret 3] to a C triad. If an E wasn't present in the C chord while the D is present, it is typically called a Csus9. sus = suspended [we would have suspended the E - the 3rd of the chord down to a 2 - a D tone].
A slash chord is a quick way to get a fingering. It has two parts: left and right side of the slash mark. On the left side is the chord that is being played. The right side is the tone that is in the bass (the lowest tone). So... Chord/Tone-in-the Bass.
Here's a puzzle to get from C to C/G. The 1 & 2 fingers stay, while the 3 finger moves and the pinky is added.
C/G sounds great in a lot of situations, but isn't always the best option when you see a "C" chord symbol.
Use your ear to determine when it's most appropriate.
And, by all means try it in your own songs.
G » For the first G, we have left off the pinky [the 3 finger will mute the one string or it sounds fine ringing as well, but this isn't necessary].
G » For the second G5, the pinky is off, & the 2 fret on string 5 [B tone] has been left out. The 2 finger will mute the 5 string. The chord's name has changed because the B tone is the 3rd of the chord. Normal G is G-B-D [Root-3rd-5th]. The B not being present only leaves G & D tones. This makes it G5. It can be used as a G. G5 = GD tones [No 3rd, which again, is a B tone].
Cadd9 » Like the first G, we are leaving off the pinky.
D » For the D, we have left out the 2 fret on string 1. This tone is F#, which is the 3rd of the chord. Therefore, it is D's and A's only, so it is also a Root-5 [R5 = DA tones] called D5. It can be used in place of a D chord.
Em » The Em shown isn't necessarily easier, we are just indicating a different fingering. Which fingering we use for Em is based on preference & context. I actually prefer this fingering most of the time.
These fingerings are available anytime for any of the chords, wherever they appear. And, they are actually commonly used.
Our first change in this group is G to Cadd9. This is a Lift & Land type of change. We lift moving fingers on the & of the 4 beat, and land on the downbeat of 1.
This change shouldn't pose too much of a challenge. The 3 & 4 fingers stay, while the 2 & 1 move up and down a level. When we say level, we mean strings. The 3 & 4 can lift to a touch during the lift & land.
This is the second video in the player.
We strum the change until we have it. Repeat it as many times as needed until you are totally comfortable with it. If holding the pinky proves too challenging at the start, leave it out as shown on the 'simplified' tab.
You could always take this a step farther, and just practice the 1 & 2 fingers moving up and down a level [the chords would then be G6 and CMaj7], then add the 3 & 4 fingers back into the mix.
When we lift on the and of 4, and strum [make sure to strum], you may hear some open strings. This is okay, & can create an 'effect'.
We are doing 2 pairs, and they are similar. They are both Lift & Lands. We can really work them in either order [when strumming the change, do each multiple times until you have it - work it in sets of 2 chords - this is the method].
Get the change for one & the other basically happens. It is just a matter of going 'a little further' or 'a little less far'.
We are doing 2 pairs, and they are similar. We can really work them in either order [when strumming the change, do each multiple times until you have it - work it in sets of 2 chords - this is the method].
For the E minor to G, we have chosen to finger the E minor with the 1 & 2 fingers so that we have a staying finger. For the E minor to Cadd9 have chosen to finger the E minor chord with the 2 & 3 fingers so we have a guide finger. You may want to practice going from Em to Cadd9 with Em fingered with 1 & 2 as well.
If you have gone through all the changes & have landed here, this change should fall into the hands with relative ease.
Notice that the 1 & 2 fingers move to the same fret space, in the same configuration, just with a different string spacing. In the video, we also make the switch with 2 & 3 fingers playing Em.