Acoustic Guitar 003: Using Chords as Templates...

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Acoustic Guitar 003: Using Chords as Templates...

Posted by Andrew Wasson Sunday, July 16, 2017

Acoustic Guitar 003:
Using Chords as Templates...

Being able to use chord patterns as templates (for both acoustic finger-picking and strum techniques) will allow guitar players more options for playing acoustic guitar ideas anywhere on the neck.

Once this template process is applied, any chord shape can become a valid outline for performing consistent pattern playing in any key all over the fingerboard.

In this lesson we'll perform patterns over Major and Minor triads, Suspended chords, Major and Minor Seventh chords, Extensions and even Altered chords. The type of chord used for this approach does not matter. Any chord can be utilized. And, any plucking or strumming approach can be incorporated over the selected chord "template" patterns.

PART ONE: In example one, a consistent straight eighth-note pattern is performed over five different chords across a four bar progression in the key of "D Major." Learn the templates, (page 3 of the handout) and then apply the fingerplucking pattern shown in the TAB on page one. Watch for the random two-note chord plucks occurring on downbeats across the progression.

Example two introduces mixed strumming technique integrated along-side plucking technique. The blended patterns are operating across the harmony of a "I-IV-V" progression in the key of "A Major." In the second and fourth measures an arpeggiated "D Major" chord helps break up the overall feel of the groove. The result is a very punchy feel. Prior to practicing the parts, study the chord templates shown on page three.

PART TWO: The second part of the lesson focuses on Barre chords that cover the harmony of a key of a "B Minor" progression from seventh position down to open position. The chord templates, (see page 4), are used as a way to format random plucking patterns through the key along and across the neck. Watch for the two note double-stop chords occurring in measures two and measure four.

In example four, the style of the harmony switches to, "Acoustic Jazz." This introduces patterns of the Major 7, Minor 7 and Dominant chord qualities. Begin by making a study of these chords (see handout page 4). The plucking patterns used across this short two-bar phrase are broken up by way of a fast paced 16th-note run from the, "F Major Pentatonic Scale." The Pentatonic scale run occurs at the end of the first measure helping to bring in measure two. Be careful of the repeated double-stop attacks on the downbeat of each chord.