Don't play your Major chords this way (play them like this instead)
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In this lesson, I'm showing you Major chord shapes that are way better than the typical barre shapes that we all learn.
To understand why they are better, we are talking about 'voice leading' in this lesson.
- Voice leading = treating each note of your chord as an individual voice, and make sure that it moves as little as possible to make smoother transitions.
The 2 shapes of Major chord that we're using in this lesson are perfect for that!
I'm showing you how smoother a chord progression like Bb - Gm - Eb - Cm can sound with those shapes.
Hope you'll learn a thing or two!
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This is the Ambient Guitar youtube channel of Canadian multi-instrumentist Antoine Michaud. Through original ambient music, chordal guitar lessons and tips on guitar pedals, Antoine is looking to educate and inspire aspiring ambient musicians to learn everything about the world of ambient guitar and chordal voicings on guitar. - เพลง
I feel like this fits for some genres and moods but not all. For harder rock or more “fun” riffs like in Punk and Grunge, the big jumps in barre chords and power chords fit very well. It gives them an edge.
Agreed.
Barre chords gives speed to the music. But if you need to do a solo, it'll buzz.
the big jumps are associated to punk sounds because that's what they originally used, after all punk is mostly played with power chord. Even though picking chord inversions for good voice leading is the "right" thing to do, punk really doesn't care what the conventions say all that much :)
You could honestly play power chords and then for lead play chords in the upper register that outline the rest of the barre chord and try experimenting with that in a daw if you have one. Hitting those octaves are nice if you mask them in the rest of the upper register chord voicings.
Your definition of voice leading was the first time I've heard it explained where it makes sense. Thank you!
Same here! Thanks!
Exactly what happened with me.. I was unaware about this concept since decade of my guitar playing.. and this suprised me..
What he teaches is the same as I got to learn in school for 9 years about how the parts in a choir should move !
You can get a lot of milage out of a chord progression just by mixing up the voicing of the chords it can take something really predictable and just make it sound totally different. For me personally just learning some different basic maj/min voicings rooted on different strings really did a lot for my playing.
I also wish I had a Tim Burton character fingers so that I could play fancy chords.
Lol, right? My fingers are much thicker and less flexible and a bit harder to do these shapes, but I still try it a go. I get some of them pretty well, but I don't do stretches beyond 4 frets very well.
I hear you. I like to retain some feeling in my hands!
Ikr. I got small hands and my pinky is short fat and crooked so... /sadreact
I'm done 🤣🤣😂😂🤣🤣
My hands aren't massive but practice gains strength. i can do them these days. Keep plugging away!
If you have short fingers like me, just ditch the low note. That's why you have bass player in the band
Or just Capo the 3rd fret!
LOL. I found this quite funny but not in a derogatory way :-)
That's OK, most bass players I know are just frustrated guitarists. Including me. Rock On!
I've always done this.
Yep, I have the same problem! But instead of playing the B note on the 6th string with your pinky, play it on the first fret of the 5th string with your index finger. It's the same note! Barre the 4th, 3rd and 2nd strings with your ring finger or pinky, whichever you find the most comfortable
This is how I've played for 20 years because I'm too lazy to play full barre chords. It makes it really easy to transition back and forth between lead and rhythm too.
I've played all full bar chords because I am too lazy to open one of the 20 music books I've bought.
@@BradySzabo After I struggled to learn guitar from books for years I eventually gave most of them away in favour of videos. I realised that, while guitar is about sound, it's actually physical movement that creates that sound... and books just can't teach the necessary movements and timing of the arms, hands and fingers like videos can. Just my 2 cents worth :-)
Bar chords are for "pussies", boots or no boots.
Depending on the sound that I want, I play bar chord (usually omit the 6th string for F or Fm shaped chord, also omit the 1st string for all of the chord (in another word only play the 2nd - 5th strings)), play 3 string chord (like the one in the video, just without the bass note... also include some other inversion ass well), or just play power chord...
But if I play someone else's song I usually try to play it as close to the original as possible...
I found this lesson inspiring and informative and it has broadened my perspective on playing chords in a unique way. And, as a few have pointed out, using these suggested chord voicings is dependent on the context of the song. I don't think Antoine really meant to say, as his title suggests, that you should play chords just one way and not any other way. He was just offering up some alternatives to consider. Anyway, that's the way I look at it. There's nothing within this lesson to agree or disagree with. I just took it as a musical idea to play around with and consider using at times. Nothing more. For that, I commend Antoine for an inspiring video.
Thank you Karl, that is exactly what I was going for! Some people only judge the lesson by its title, withiout judging the content of the lesson. Feels great to see someone judge it with discernement!
@@AntoineMichaudGuitar remain true to your nature
Excellent lesson. Being retired I finally have to take up my guitar playing again, and it's just stuff like this I work on for the moment.
If you look at traditional English church music, the four parts rarely move in a particularly correlated way; they interweave, often collide for a note here and there, and even sometimes cross over. Alto parts often have the same note consecutively when the soprano (melody) line changes its note and then the opposite happens. David Crosby understands this which is why he enjoys singing the middle part between Nash and Stills where he can introduce movement separate from the melody.
So many forget music goes back to the piano the next step is the more “operatic” church organ. Meaning all overlaps fit easier to a keyboard form.
This is a critical observation for anyone writing vocal harmonies. Properly done, this allows for a contrapuntal bass line, and makes simple chord progressions come alive just as in the early baroque period. The acoustic setting I currently play in could use this - I think following jazz the thinking is more in terms of chord progressions, and complexity is thought of in terms of adding more chords rather than this. The two are not mutually exclusive of course and a good example would be Chris Squire’s arrangements. Like him or hate him, he grew up singing English church music in a formal choir setting.
I play rock not church music. I only need the 6th and 5th string 🤟🤟🤟
@@TheflyingkiwiRC Right !! All that Difficult stuff and sh!t ... Rock comes outa my Heart , and dont even THINK about vocal Melodies , Harmony and all ..Just Comes at Me and if its Sounds Cool .. It Goes , No MATTER what all the Official Methametics and All ... pffftttttt
Playing in church is a lot of work for the amount of enjoyment that you, usually, get from it. There is a lack of joy...
Absolutely brilliant lesson and beautifully explained. Loved the description of relating leading notes along with a choir. Really makes you think of the notes along the fret in terms of their relationship to melody thus how others compare on their own and withing a chord. Seeing how easily looking at this and combing chords together with this in mind really opened my thinking to notes and chords. Thank you so much
I knew about voice leading, and I knew about the CAGED shapes. Now I can apply them together for my own purposes. Thank you!
Efficiency of finger movement is one thing, but it results in a different style of sound, which is pure preference. Play the chord inversions which give you the sound you like best. I'm not convinced there's any such thing as 'bad' voice leading.
I agree with this. Distance in tones is by itself a means of music expression. Its great to know and be aware of what he is teaching here for sure. I consider it outstanding information but to say that all progressions should follow this example is something else.
@@79943 I agree. Good info, but... I've been playing for 45 years, and I play what fits what I'm going for. The close voicings are nice at times, but so is the dramatic jump to a full bar chord, say, in a hard rock song. I guess I just repeated all that was said. Oh well. He meant no harm. Peace.
Completely agree, it's what suits your playing style and ability as well. I try to vary my voicings through a song, but I can do voices on the 8th fret, that I can't on the 1st.
Hate the word "Don't" in music, "Try this" yes, but not "Don't".
I'm joining this club lol... totally agree with all y'all. I make my living playing music and I don't have time to consider voice leading when I'm playing 2 gigs in a row on a Texas July day In 2 different locations lol. This is really minutiae and not really relevant at the end of the day, especially to an audience
@@hughcdavies lol nice. I completely agree sir
Essentially, you're playing a variety of moveable chord shapes rather than just root 5 and root 6, so it resembles how you'd play a song which uses only open chords. Like others here, I don't see that that this necessarily makes it sound better but it's certainly good to increase your chord vocabulary and options.
Agreed. Heavier styles of music w/ a lot of effects and distortion I do that all the time for varieties sake/ making riffs less monotonous. Which can be easy to do writing metal riffs. To easy 🤪🤘!!!!
This is the something I learned due to getting old. And it simply made me a better more versatile player.
Uh - can't fully agree. It higly depends on context: if e.g. you're looking for melody-lines it can be easier to play your way, because you are not mislead by great tonal jumps some bar chord combinations may provoke. But if your rythm guitar follows the voicing melody too close, it might actually get pretty boring pretty fast - so, when in doubt, I'd try what sounds best in context.
Can you clarify for me. The voice leading referred to here is the voicing of the guitar chords, and not a reference to vocal melodies. Yes?
@@conork325 Yes, the vocing of the guitar chords; not the vocal melodies. I think what Shai is saying is that by following the voicing melodies too close (minimal movement) , the melody can sound monotonous and dull after a while and I tend to agree. It does depend on context, it can also depend on the chord, the singer, the genre, or the mood the song is trying to convey.
@@The07vinny Thanks :) You were quicker than me.
This is a vital point, because you have to step outside of being a guitarist a bit.. What does it do for the song?
@@ewetoo Exactly.
I've been doing stuff like this for years! The other thing about the C shaped barre chord is that it is a close voicings (that is, the main triad is in order and in the same octave.) I usually make the G a close voicing by adding the 3rd on the A string as well.
Thank you for trying to break this down for people! To those that think this is nonsense, just try it. Experiment with trying to play a chord in as many different ways as you can. You will soon realize the melodic power this unlocks in rhythm playing and especially chord-melody playing.
One particular voicing I liked for a I-V is to play an E shape barre then a C shape. For example, B to F# can be played with E shape at 7th fret followed by C shape at 6th fret (root note on 9th fret of A string.)
As an old timer who has been stuck in the same old same old for more years than I care to admit I’m grateful to have stumbled upon this video. Beautifully explained and demonstrated. The timing couldn’t have been better as I have recently been tapped for a worship lead spot and I feel like a fish out of water as almost nothing is chorded the way I’m used to. I hope these techniques come quickly to me. I’d love to hear some comments of the free course as it pertains to the worship genera and whether it might be as useful as what I find this particular bit to be. Reinventing my playing seems to be a daunting task but I long to serve with what gifts I have. Thank in advance for any help.
I always felt the barre chord playing jumped to much but your explanation resonated with me. It now makes sense - thank you very much, I will see if my old short fingers can quickly cope with rapid changes- much appreciated
Thank you so much, Sir.
This is the music class we're all waiting for...awesome!
And by the way also very nicely explained.
This is a really excellent lesson. Been playing a long time, but this never occurred to me.
Nicely explained and really useful! These basics are true for EVERY polyphonic instruments.
It’s fair to say this approach would apply only to certain styles or genres of music. The standard barre chord approach is what helps punk rock sound the way it does.
But I may add that punk and other guitar distorted styles usually use power chords, that only contain the root and the perfect 5. Also, they usually use only 3 strings, and even 2 or 1. Therefore, most notes are on the same octave, which is the underlined theory behind this video. Melodies are based on intervals, and, even if a Major2 is the same as a major9, it fells better to jump 1 tone than 7
@@koorssgamer punk rock also use a lot of barre chords, not just power chords
@@StephxUn but no one is following where the individual notes of a distorted bar chord fit in parallel melodies. Abandonment of such finesse can be argued to be a genre, like a snow shovel hanging on the wall can be argued to belong in the same gallery as a Michelangelo.
Can't imagine Syd Vicious sittin' 'round talking about chord voicings and tonal jumps...
exactly my thought !
This is an awesome tip! Never thought about the chord voicing problem, great reason to explore new shapes!
It's strange that I taught myself this method years ago out of the struggle of trying to be a better musician. Thanks for the confirmation of this video.👍👍👍
Clever lesson. I am going to incorporate this in my playing.
This video Can only Be underated. I’ve been playing acoustic guitar for 25+ years and i actually learned something new from this. This is just an over the top guitar and Music lesson. Well done!
It makes so much sense to consider each note in a chord as a different voice, I don’t know why I didn’t think of it… it’s obvious in hindsight! Thank you!
VERY well done sir. CAGED in action!
Excellent lesson: it has already prompted me to rethink my playing.
I have been very focused on progression from one note or chord to another. I really like the way you explain this aspect of it while I recognize that the different ways of playing the chords do also give different aesthetic sound and change possibilities for individual notes of lead or accent and their progressions as well.
Also commenting to say that was the most elegant way I’ve seen chord voicing explained, simple and concise thank you from a player of almost 10 years now !
Absolutely beautiful lesson my man. This is pure gold
at any level. Any good explanation of something you think you know makes you know it better. And that´s always gold in the path of learning.
Well said.
His Bb and Eb chord shapes are quite useful in fingerstyle acoustic guitar, which I play. Regardless of key, those chord shapes position you nicely to find the pentatonic notes & play melodies within the chord.
Simple yet clear explanation to me. Thanks for new ideas!
I've been doing this for years but as a way of being more economical in movement around the fretboard. It does sound better and I never even thought about how much better it sounds until you A/B'd it here. Great video!
You might be the only person I know who says it’s more comfortable to do it an A bar shape and then press the big Estring with your pinky with a four fret stretch....lol.
@Bike huh
Lol agreed, maybe his pinky does a lot of flexes, strong enough to hold on to E String in a 12 hours long concert.
Thinking the same thing myself 😂
@@JayManWolf facts... and I’ve been playing a long time...🤣🤣🤣
Well it is easy ^^ just practice and it makes no difference anymore!
I have learned to my dismay that the long barres -a quick way for a beginner to bang out songs-is an impediment to fluid technique and switching to single note fills and double stops. I’m all for keeping index finger tip closer to high strings as you’re doing on those variations. Sounds so much sweeter, too.
Yeah, that's how I think. Love this lesson. It reinforces what I've come to believe about playing. I'm always looking at passing tones to move me ahead. Much more like playing keyboard than guitar but it works. Also, when I learn a new song I ultimately aim to learn the changes in three different positions. That really helps me as I'm moving around the fret board from one voicing to another. Oh, and no-one said you have to play all six strings all the time. Love simple double stops and triads.
Great job Antoine. Always such helpful and practical information
For me doing full barre chords is about how you strum them. If you use lighter picking pressure and an even stroke with the right amount of left hand finger pressure you can make them sound much more subtle and "musical".
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Thank you. I have been playing chords and progressions like this for decades but had no real way to identify or explain what makes their voicing sound different. It makes total sense now!
Super smooth and full. Good for composing melody.
When composing, I think about each single note contained in a given chord. Then, one by one, I "experiment" how i could reverse, find a great note ensemble that serves the melody. IMO neck position and choice of strings to play for a certain chord are underrated. Your approach is part of this logic and it is very interesting. It is hard to find any good guitar related content on YT. You have one more suscriber ! ;)
With the Bb chord using the G shape as long as we are concerned with "voice leading" I would strongly recommend playing the third on the 5th string 5th fret as well versus omitting it. This way when you switch to the Eb in the C shape you are going from the 5th string 5th fret to the 6th fret and this is creating a chromatic resolution which always sounds great. So I would play it 65333x or 653336
You are a natural teacher who speaks perfectly to my learning idiosyncrasies. Thank you!
BriLLiant Piece of KnowLedge ! Congratulations to you and to all those who start implementing this chords !
It just depends on the sound and feel you are looking for in a song. And you can mix these up within a verse or chorus so it's not played the same twice.
I base my chord configurations on how I want to "color" the sound. You are trying to keep the chord configurations as close to each other as possible. That may be more efficient but there are times when I want the adjacent chord to "jump out" so to speak so I will move up or down the neck as necessary to achieve that significantly higher or lower sound/pitch. This video just demonstrates alternate fingering for what one would otherwise be a full bar chord. Still good information for beginning players to know.
Very good! Thank you, that was useful!
Beautiful approach that I’m going to experiment with Thank you!
that's gold to open the mind to the C and G moveable shapes at beginner level or just to anyone who hadn't figured it for himself. You could extend the vid to show how jazzers approach creating voicings without resorting to barres, which would benefit players by seeing that u dont have to get tramlined into bar cords at all --- although they might be convenient here and there.
Very practical for song writing ❤️ wasn't expecting to step up my game this much in only 9 minutes
Thank you kindly. I have been looking for this for ages.
your lessons are so helpful and simple! thanks a lot and keep it up!
This is a great demo of the general rule, whether you solo or play the chords. Don't jump around the notes too much.
Somewhere over the Rainbow
She's a Woman
Nice lesson and well presented and I like the way you explain voice leading. Unfortunately from the comments you can see there are always two kinds of guitar players. Those who when faced with new information say "cool, I learned something I can add (or subtract) as I see fit", and those who when faced with new information say "No.".
And I’ve never understood why detractors need to post their counterpoint ( excuse the pun)-he’s giving an OPTION that shows new ways… stick to your old hopping around if you want and pretend you never saw this!
This is such a good video!! I’ve always found that its so important that the top note on the chord progression has a nice melody! This is something piano is great for but at guitar it’s not as easy because of the different chord shapes. This video helps so much with that!
Music is melody and if everything has a nice melody then it’s probably gonna be a better song!
Very inspired by this!🙌🏽🙌🏽
Fantastic lesson, Antoine. Thank you!
Alternate Video Title: The CAGED system without calling it that ...... But I liked this video anyway because it keeps chord progressions within a smaller fret block as I've had the problem while writing where the next chord is right for the bass line pattern, but still sounds wrong because it doesn't blend well with the previous chord.
I'd say it also depends on the style your playing. For example, in Rock/Metal, or many of their subgenres, a lot of movement can give the sound a more dramatic energy.
Great insight. A really great way of looking it it. Hopefully I can retain this in my head when I can use it !!
love the free lessons you shared, I've been using these chord shape before, love it.
thanks for sharing
3:23 as soon as you played that voicing in Bb I thought of “Death of an Interior Decorator” by DCFC. You can also get the same voicing on the first fret with an A shape and use a D shape for the Eb. Great lesson on using the CAGED system for voice leading!
Your Bb chord with the root on 6th string at the 6th fret is identical to the root 5 bar chord at the first position.
Exactly. It has no impact on the chord voicing if you use a regular A-shaped Bb chord.
Indeed! But it helps for the transition to the next chord! 😊
it does have a high Bb on top though
You're correct. From the orthodox Bb bar chord, he can go to the Eb consisting of the fourth string first fret, third string third fret, second string fourth fret and first string third fret also.
I have been playing the guitar for years, I have never taken classes, I have learned on my own, but what you have taught in the video has opened my eyes and also my ears to something that I had never noticed, thank you very much, you are very good teaching, we have to keep learning to play this wonderful instrument.
It's my pleasure! Glad you found it helpful :-)
Love this video, Antoine!! Excellent lesson as per usual!
Thanks for your immense support!
Depends on genre. In popular music, ever since the blues influenced most modern music, voice leading (at least in the rhythm section) has gone away. Horns and strings: very important. We don’t really hear this anymore. It isn’t a big deal when you’re, say, the guitarist in a reggae band.
Exactly...also at the end of the day- who cares??? If it sounds good, it is good
Just like, sometimes melodies take a leap or jump for added character or drama, I've noticed that sometimes leaping or jumping chord note lines are effectively used in the same way. So a song might use small-changes chords mostly, yet deliberately include places where the chord changes are more far reaching.
Naive by The Kooks is good example of that
This is gold. Thank you for this!
What a fantastic wee lesson. Thank you so much 😁
Using the CAGED system to build melodies within the chord progressions, and givin 'em a warm ambient around. Great lesson! I'm trying to figure out a bassline right now 😆
never had trouble voice leading with barre chords, i find them so much more comfortable than what you're showing here.
amazing way of explaining it. thanks!
C'est geniale mon Ami. Keep up the good work. Thanks a million
I think ive been teatering on this concept without realizing it because i love a smooth sound. Almost like playing a piano.
Definitely creates an easier listening sound. Could combine the 2 to create a driven section with a smooth sound behind it
I’ve been playing chords like this for years (20+) and never knowing what the point of it was. Now I know. Cheers dude.
You taught me more in two lessons then the 16 yeArs I’ve been playing. Amazing
Thank you,Antoine ! I'm so glad I happened upon you're video tonight here in Texas, U.S. You've a way of explaining and describing things in such a cool way - ... You also reminded me of my choir days,(a VERY long time ago , so thanks for my memories of those lessons I'd forgotten... Cheers, Kevin...
For the B-flat chord at 3:24, having short fingers I usually play the root at the 1st fret on the 5th string with my 1st finger and mute the 6th string, also with my 1st finger. I barre strings 4,3,2 as in the video and mute the high E. This moveable voicing is exactly the same notes, just a different shape on the neck.
Great way to do it.
There are many "moveable" chord forms for guitar. Movable means it's the same fingering form, that you can move up and down the fretboard. I've seen very few guitarists use more than a few common moveable chord forms outside of jazz, fusion, or prog rock/metal.
Using the various moveable forms at the same fret, alone, will provide literally dozens of chords, inversions, voicings, with many different chord forms sharing some of the same notes; and avoiding the "jumping melody line" mentioned in this video.
Learning 10 moveable chord forms gives you 120 total chords (10 forms x 12 notes in the chromatic scale)
IMO this is another of many rhythm guitar techniques that are often overlooked.
If you're interested in seeing moveable chord forms and rhythm guitar technique, have a look and listen to Freddie Green who played guitar in Count Basie's orchestra for over 50 years.
IMO
Sometimes I think I'll play along with our lead guitarist, then when trying to follow his hands to get the progression, he's playing freaky looking chords and triplets and I have no idea!
Excellent lesson! Very practic and concise. Ty! 👍🎸
This lesson upgraded my knowledge in spanning the fret board. Thank you 🙏🏻
so it's pretty much finding the closest CAGED chord shape for each chord
Actually that is closer to the point
It's weird to be taught by someone without a head.
It’s the Doo lmfao
The headless course man
headstock is important here
😂 Haha 😂
Coz he's playing down the neck 😂😁
I waited patiently watching the entire video and it was rewarding. Great tips for skills improvement
This is a nice demonstration of voicing for a choir via guitar. Very tasteful.
"really really relaxed" also has the longest pinky ever :D
Dude your hands are huge! I've known about these voicings but I really can't reach them!
Same
it's about how flexible ur fingers. Just practice it man. It's same like the first time u did the C major open chord. Hard at that time. Now u can do it easily.
Stretch you can do it
When i 1st started playing i thought i was going to have arthritis someday because the bones and tendons were hurting in the wrong kind of way. But eventually it went away and my hand sorta molded to how i wanted to play.
It's definitely possible. Actually it's probably impossible to not be able to physically reach them normally. I have small hands too
This makes sense.
And opens up new sounds thanks.
Lovely tone!
In my days ( 70’s ) we did the berklee books 1,2,3 that covered the voice leading ! Also the Ted Greene books had lots of great examples on voice leading ! I would recommend these books to anyone that takes guitar playing ( studying the guitar also ) seriously ! Just my opinion and in no way trying to impose it or saying that I’m completely right ! Just an old way of doing stuff 👍🏻
I recently got the Ted Greene books. I can't wait to study, learn and experiment with it.
Play the chords anyway you desire. The top players play the same chord in numerous ways, and very often do so in the manner you are advising against.
I totally agree! The more you know, the more you can choose the right voicings for the right contexts. It's just that a title like: ''These voicings are also good (like many others), but choose whatever you want'' is not very enticing to make people curious enough to click on it ;-) cheers!
@Heathcote Shawn you have no idea what you are talking about.
@Heathcote Shawn Merle Travis revolutionized picking using only a thumb pick and his first finger. Wes Montgomery played using a wart on his thumb and was one of the top jazz musicians of all time., ,, Django Reinhardt was the father of gypsy jazz and used only two fingers on his fretting hand due to a fire he was in,,,, Matteo Mancuso is a new guitarist that has impressed everyone from Al Di Meola to Steve Via and he uses a bass guitar/flamenco style picking technique uniquely his own..
I can do this all day long....
@Heathcote Shawn even the person that posted this video, agreed with what I said.
There comes time where this info becomes helpful. It's when one grows tired of reinventing hot water.
Inspiring. Thank you!
Didn't expect this to be as instructive as it was! Great great video
Cool! Thanks :-)
When the voicings are played this way, it has a smoother, more classical sound. Playing the bar chords has a different personality, more raw, more rock. Interesting.
This is great for people like you and me, with pickpocket fingers. 😂
I'm learning about voice leading in class and this is super helpful, thank you!
Thank you, Antoine. Great lesson, helped me a lot. You are too cool 😎