Chord Theory question

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[300m]

Guys.
  I am trying to understand more on chords now that I am playing acoustic more.  Let me explane what I know and see if I am right.  I want to work on open cords right now, not Barr's.
Major cord is major 3rd and then a minor 3rd, or major 3rd above and perfect 5th above the root.  3 notes, Root, 3rd & 5th.
Minor cord is a minor 3rd and then a major 3rd, to minor 3rd above and a perfect 5th above the root  3 notes, Root, 3rd & 5th.
7th cord requires a 4th note, the 7th of the scale, in D that would be C.
Suspended cord:  Suspends the 3rd of the cord with the 2nd/4th
Augmented cord:  raises the 5th 1/2 step

I have attached an example sheet for the D cords if I am right on these.  I am a bit shallow on 7th's.  Dominant 7th is a full step below and major 7th is 1/2 step below the root.  Minor 7th is also 1 full step below root.

[Iliace Vladimirovich]

You're on the right track.  Let me see if I can generalize this for you.

All chord tones are named with respect to the major scale.  So, in a major scale you have a Root; Maj2 (aka maj9, sus2); maj3; p4 (also p11, sus4); p5; maj6 (also maj13), and maj7.  If an interval is major, it is referred to as just the number - e.g. Dmaj has a 3rd in it.  If a major chord tone is made minor, it's referred to as flat - e.g. Dmin has a flat 3rd in it.  If an interval that is perfect is taken down one half step, it's generally known as diminished, although this really only applies to the 5th.  If a perfect interval is taken up one-half step, it is known as either augmented (the proper term) or sharp (the simple term).  Thus an aug5 chord has a sharp 5th, or an augmented 5th.

So let's start on the top string.  You have these shapes available, starting with just your Dmaj shape: Dsus2 (or Dadd9), Dmin, Dmaj, and Dsus4 (or D11).  Respectively, high E frets are 0, 1, 2, and 3 - the rest stay the same.

On the second string, you get your 7th chords by omitting the duplicate root.  These shapes are available: Dmaj6, D7, Dmaj7, and Dmaj - frets on B string respectively 0, 1, 2, and 3.  Notice this is only true for the Dmaj shape.

On the third string, you can alter the fifth, making it either diminished or augmented.  You can also omit the 5th entirely by playing the string open, resulting in a Dsus4 or a D11 chord.  Thus, the available shapes are: Dsus4, [Dmin with major 3rd], Dmaj, and Daug5.

Altering the bass is not out of the question either, but that's a topic for a later discussion.

[Iliace Vladimirovich]

You'll soon find that there is a great number of variations, even just in the open position.

OK, so now we'll use the same idea, except we'll alter the bottom three strings, while keeping the top string on 1st fret (F, or flat 3rd - yielding some kind of a Dmin).

So, beginning with the second string, you have these shapes: Dmin6, Dmin7, Dmin3Maj7 (aka DmMaj7), and Dmin - frets, respectively, 0, 1, 2, 3.  A good way to practice these is in reverse order to a latin beat: start with Dmin shape and move the second-string fret down by one for each beat.

On the third string, you have these shapes available: Dmin11, Ddim5, Dmin, and Dmin#5.  Again, frets are 0, 1, 2, 3 on G string.

Now, how about we start with 7th chords?  These are basically just varieties of standard minor/major chords, with a jazzy flavor to them.  So, let's begin with the Dmaj7 shape and go through the strings again.  On the top string, we have Dmaj7(9), DmMaj7, DMaj7, and Dmaj7(11) - again 0,1,2,3.  On the third string, we have Dmaj7(11), Dmaj7b5, Dmaj7, and Dmaj7#5 - 0,1,2,3 respectively.

Let's try the same with a Ddom7 (or simply D7) chord.  Starting with that shape, on the first string we have: Dmin7(9), Dmin7, [Dmin7 with a major 3rd], and Dmin7(11).  On the third string, you get Dm7sus4, Dm7b5 (use minor 3rd on top string), Dm7, and Daug7 aka D7#5.

This should get you started - ask questions!

[300m]

Thanks, I will read through this as I am headed to a meeting.  I already have a few

[300m]

Ilia
 Thanks for taking the time to help!
Question 1: so is Dsus2 = Dadd9 and Dsus4 = D11??  Or do you mean they both just have a 2nd/4th in them.  What is the format for an add9 and 11?
Maj:    1, 3 5
Min:    1, b3, 5
Sus2:    1, 2, 5
Sus4:    1, 4, 5
Add9:    1, 5, 7(?), 9(2)
11:    1, 5, 7(?), 11(4)

The light bulb is starting to go on!  I did a cord sheet, just moving the 3rd around you get 4 variations (in 1st octave).  Same with the second string, I did not know Dmaj6.  Any maj6 for that matter.
Question 2:  I am confused on the Dsus4 on 3rd stings, should not the 1st string also change to G.  Does not suspended mean suspend the 3rd to 2nd?

I am good on the Major 7 – Minor 7 & Dom 7.  If I understand correct the 7th on the B string stays fixed and you move the others.

I am going to work on A now, to see if I understand what you showed me.  I will need help with some of the names though.  I have attached the D cord worksheet for your review.  Note the Dsus4 on the G string I mentioned.

[Iliace Vladimirovich]

It's just naming, sounds are basically the same.  The difference is, a sus2 or sus4 will not have a 3rd; if it does, it's either 9 or 11 respectively.  Same with 13 - it's a 13 chord only if there is both 6th and 7th - if there's no 7th it's just a 6 chord.  But they are more or less interchangeable.

[300m]

Cool!!  I will have some on A as I am strugling wth that now,  Names

[Iliace Vladimirovich]

OK here is some A, attached.

Keep two important things in mind:
1. Even though you want to focus on "open" chords now, if you follow fretboard logic (the book) you can use the CAGED bar chord principle to apply all these same shapes all over the neck.
2. Once you learn the five basic root-position chords, take a progression that uses them.  A simple one will do, just basic major/minor/dominant chords.  Then, start using substitutions.  For instance, instead of playing a Dmaj, play a Dmaj6 or Dmaj7; instead of D7 play D7sus4 or D7(13) or D7#5; instead of Dmin play Dmin7, or Dadd9.  It's the best way to learn the shapes quickly.

[300m]

Thank you!  I started applying this today I used some variations in my fingerstyle pratice.  Best way for me to hear the tone difference as I hit each string.  Worked on D, varying 3rd, root and 5th.  Do the 7th's tonight with some A's as you re recomended.

Question on Am7b5, should the 3rd be on C not C# to be a minor, Master?  Confused here, I realize I know 10% of the rules so.....

Willing to do some for E & C?  Not a big fan here of the G barr as it kills my hand with cramps .  I find to I use mostly Gm in Barr, G7 & G in Barr and a G5 I just learned Not sure on the G5 as it was in a Acoustic music book.  "Teach your Children" 3300xx 1-6.

[Iliace Vladimirovich]

Oops!  Did wholenote screw up?     That's a b5 or #11, depending on how you want to look at it.  You're right for Am7b5 it should have been a b3.  Anything minor will have a b3.

[300m]

Good!  That means I learned something!
Now to work on E & C

[Iliace Vladimirovich]

I used the Chord Finder in the Basics section of www.wholenote.com to generate those charts... highly recommended.

[300m]

Thanks!  I will look there.  I did buy guitar grimoire chord encyclopedia

[Iliace Vladimirovich]

Thanks!  I will look there.  I did buy guitar grimoire chord encyclopedia

That's one I don't have.  I have the other three guitar ones.

WholeNote is nice because it can either give you note names, scale degrees, fingerings, or just dots... at one point I took advantage of free laser printers at my school's library and printed up my own "encyclopedia" from there. 

[300m]

That is cool I will use the lase at work tomorrow

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worksheet sharp dsus4 mean dmin7 chord shapes the am7b5 flat