Chord Velocity, Volume 1: Learning to Switch Between Chords Quickly
FREQUENTLY ASKED QUESTIONS
| Q | I ended up settling on a Larrivee acoustic, though I also have a Mexican Fender in storage. I am 6' 2'' and don't have my mother's fingers, which could be why I have trouble. I can manage any of the chords, both open and barre, except for the A form. I have tried using different combinations of three fingers, but have a hard time fitting them all into such a small space, and I've tried using just the bent top of my finger, which eventually deadens the high E string.
Somewhere in between I've never managed to create a good habit, and now whenever I run across a progression that uses this form, I try to substitute it with another form. Another issue I have is the various fingerings for a G chord and what way I should try to hang my hat on. The simple way is to use the ring finger for the high E string, though other methods want me to use the pinky for that string, so that I have the index open for barring up the neck. These are only examples of what beginners have to deal with at the onset that makes learning very difficult. I try to practice without looking at the neck, too. Then I feel like I'm not able to fly around like a normal player. Thus, I'm looking for a clean way to move chords like everybody else does. I think only practice will work, and I'm trying to find chord tabs online that I can use against mp3 songs that I like and worry about scales later, though I've also spent many nights going through the different forms of those, as well. Don't get me started on how many different methods there are for that and who thinks which ones are the right way to learn. Then there's the CAGED system, which I'm not really sure where that should fall. All that and my pick always falls from my fingers three bars into a song. It makes you want to pick up the trombone. |
| A | So first keep in mind that all those various fingerings for the same chord you see are all useful in different situations. For now I think you should only concentrate on one until you get it sounding correct.
One thing you have to realize is that even though you have a great acoustic guitar it has a normal nut width (length across the fretboard at the nut) and the scale length ( the length of the guitar fretboard). I believe yours is 1 11/16 nut width and 25 1/2 scale length. Different guitars have different measurements and I'd say from your description of your problem that you may need to find a guitar that has a wider nut width. The nut width and scale length of your Larrivee acoustic and the Mexican Fender are pretty typical. One thing you should do is go to a local store and see if they have a MARTIN BACKPACKER CLASSIC GUITAR there is a picture at: http://www.elderly.com/new_instruments/items/MBP200.htm This guitar has a nut width of 1 15/16, which is considerably wider than your current guitar. I'm sure it won't sound as good but check it out for playability if they have one. While your at the store have them show you other classical guitars with the widest possible nut width and see if this helps you play the chords in question. Even a couple of 16ths of an inch can make a major difference in how your hand fits the guitar. Classical guitars go all the way up to 2.10 inches at the nut, which could be an answer for you. There are also custom build guitars (now you will have to forget about that ranch!). Once you find your comfortable nut width a guitar can be designed just for your hands and can be acoustic, electric or whatever. Check your local store and get back to me with a report and then we will take it from there. There are still some things we can try with your current guitar. |
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| Q | Now you have me thinking about what I'm really looking for in the way of help. What if I said that in the key of A, it's important to focus on holding the middle finger down, making the move to a D less daunting, and then to an E would include only shifting that finger. Make that the anchor of the key of A (for now). Therefore, move from A to D to A to E, etc., focusing on keeping the middle finger down. Life should pause and a whole chapter should be written on repeating this. No modes, no scales, no key changes. Just keeping that finger down.
Chapter 2 - play in G, and go from a G to a G7, which naturally leads to a simple, one string shift on all fingers to a C. Back and forth... What's the best way to anticipate a D? Moving to a D7, then to a D? Would that make the shifting process smoother? In time it would be natural, but is there a way to think of the key of G in terms of a simple 1-2-3 shift of fingers? It's the simple, repetitive process such as this that I am looking for to instill the natural movement within a progression. |
| A | I understand the concept of what you are trying to do I just don't think you are always choosing the best fingerings. I will admit that your system does allow you to keep an anchor but it also makes for a problem when you want to embellish the D chord with the G on the high E string. This is a very common embellishment and it will be much harder to do this if you are fingering a D chord with your 2nd finger on the A on the G, your 4th finger on the D on the B and your 3rd finger on the F# on the E string.
If you play an A chord with your first, second and third fingers 1=E on D string, 2=A on G string and 3=C# on B string then I would move to a D chord by leading with your 3rd finger sliding up to the D, your first finger moving up a string to the A on the G string and your middle finger moving up to strings to the F# on the high E string. Conversely when moving from a D chord to an A chord I would think of leading with your 3rd finger, which moves down 1 fret to C# and the 1st and 3rd finger moving in a parallel motion and landing on the E on the D string with your first finger and your 2nd finger landing on the A on the G string. The real problem for many students with this switch is get the 1st finger down enough so the A string will ring open with the A chord and the D string to ring open with the D chord. This requires some students to actually play the E on the D string for the A chord and the A on the G string with the D chord slightly lower or more towards the thumb side of the 1st finger. Some other general things to keep in mind when you are doing this is not to press too hard. You only want to press hard enough to get the note to sound. Give this a try and let me know how it works for you. |
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| Q | I write to you because I'm currently trying to find retailers in France which sell your books. For now, I only found Amazon.fr (France) or Amazon.de (Germany), but on those sites almost every book of yours is labeled not currently available. Ordering to U.S or U.K is not financially interesting, because of shipping costs.
So I‰d like to know if you can provide me with some information about where I might find most of your books in France (shops, e-shops). I started to study your Chord Velocity e-book. It's rather basic, real-beginner-oriented. But it gives a few tips about how to practice and not get discouraged. My only criticism would be that, even low, the price remains a bit high regarding the very small amount of information contained in the book: I'm pretty sure that 99,999% of beginners already have at least a chord diagram book with those very basic A, D, G, C, F, A min fingerings. So the really useful material is limited to the chord progressions with their rhythm variations and the tips regarding the way to practice them. Anyway I liked the tone, the clarity of presentation of the book, and then I feel there might be something worth it in your other books, and so I want to check them out. |
| A | We are currently trying to get distribution of our books in Germany and France. Supposedly one of our distributors is signing a deal with amazon for worldwide distribution. As with all of these situations it's hard to tell what impact that will have on the German and French market.
We have heard the criticism about the amount of content in the Chord Velocity book. Mr. Arnold wrote this book to address one specific issue that kept coming up with beginning guitarists. This issue was a student's ability to switch between chords quick enough so that when they play a song it stays in time and sounds like music. Mr. Arnold found that by taking 3 or 4 progressions and using a system of using different rhythms in combination with a midifile that changes tempo a student was able to overcome this hurdle quickly. Because we also offer access to our member's area and email support from Mr. Arnold we felt that the price should reflect these added bonuses. We are sorry to hear that you didn't think the book in combination with Mr. Arnold's support/time and our member's area access was not worth the purchase price. |
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| Q | I might be interested in the Chord Workbooks to start with, but I'm not sure that the Vol 1 may be useful for me: I already know the fingerings for barré chords, open chords, 7th, maj 7th, min, minor 7th... even if I have trouble switching between them. And the content summary that you give on the site for Vol 1 is not precise enough to realize if there is more than a mere presentation or dictionary of those chords and some basic theory on how to build them, or if there are tips and extra knowledge, which can be worth it, even if one already knows all those chords (like extra tips for velocity switching going beyond the ones given in e-book, for a good picking technique, etc.). In other words, do you think that Vol 1 is mandatory to build a stronger technique before going to Vol 2, even for someone who already knows - if not masters - all the main chord fingerings, or that he/she can skip this book and go directly to Vol 2, in order to learn the tricks for playing good sounding chords in a band context (which in fact is the main goal)? |
| A | It sounds like you know a bunch of triad and 7th chords using open and barre positions but are unable to first switch between them and therefore use them convincingly to make music. It has been my experience that students in your situation need to apply the chords they know to chord progressions. Therefore I think Chord Workbook for Guitar Volume One would be a good place for you to apply the 7th chords and chords with more tensions. I should stress that if you still have problems switching between basic open position chords you need to spend time with the chord progressions found in the ebook Chord Velocity. If you feel you can play songs with open position chords, stay in time and it sounds like music then it is time to move on to the Chord Workbook for Guitar Volume One.
Chord Workbook for Guitar Volume One gives you these things: 1. Explanation of Music Theory on how to build basic chords and chords with tensions. 2. A list of the available tensions for each chord type. 3. Open position chord voicings and barred voicings for all 7th chords and 7th chords with tensions. This book doesn't contain every possible chord voicing but only those used most often by professional guitarists. 4. A reharmonization theory section which is key to understanding how to reharmonize and analyze complex chord progressions. This information can also be used in improvisation. 5. 36 chord progression which allow you to apply the 7th chords and chords with tensions. 6. Downloadable mp3 files of the 36 chord progressions so you can play along with me and get the proper feel and technique. This book is key to developing a professional ability to play any chord progression found in modern music. The chords found in this book have the root based on the 5th and 6th string and are therefore used more often in a situation where it is OK for the guitar to be playing in this lower range. This situation can be found with a full group playing but is more often found with solo and duet playing. Unfortunately, many uniformed guitarist will use these chords in a jazz context where there is a walking bass. These chords tend to make a rhythm section sound very muddy in this situation. That said I should also point out that not knowing these chords would be a grave oversight on your part. Any professional guitarist knows all of the chords found in this book. Chord Workbook for Guitar Volume Two contains the chords commonly used in a group context. This is particularly true when it is a jazz or funk style. You will find that knowing the chord voicings in Volume One will make learning the voicings found in Volume Two much easier. Volume Two is an extremely dense book and takes any guitarist years to learn and apply all the chords found in this book. Therefore from your description of your abilities I would highly recommend you start with Chord Workbook for Guitar Volume One. |
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| Q | I figured out what was happening. I already have Adobe reader, but Adobe somehow thinks I need another copy. I just used my regular copy and it proceeded to open all 3 files. (It was seeming like all of the files were requiring an unlock code.) Sorry to trouble you. |
| A | Glad you could figure it out. We get multiple complaints from customers about e-books. We have complained to amazon and to Lightning Source the distributors. Doesn't seem to do any good. If you also complain it could help others in the future.
cust.service03@amazon.com PublicRelations@lightningsource.com If you need any help with the material in the books make sure to contact Mr. Arnold at FAQ@muse-eek.com We are currently adding adding videos for the essentials book so check back in the member's area over the next couple of weeks. The Chord Progressions in the Chord Velocity book are the same as the 1st Steps for a Beginning Guitarist. We have added a huge quantity of videos and mp3 for these progressions. Check in the member's area under "Help files for Chords" then either In 1st Steps Slow MP3 Files or 1st Steps Alternate Chord Progressions you will find tons of video and audio files for the Chord Velocity Book. Also for the Guitar Technique check out the Video Scale Files in the "Help files for Scales" to see example of how each scale should be played. |
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