Chord Creative | Rick Payne | Skillshare
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14 Lessons (47m)
    • 1. Introduction

    • 2. Messing With The Basics part 1

    • 3. Messing With The Basics part 2

    • 4. Messing With The Basics part 3

    • 5. Messing With The Basics part 4

    • 6. Messing With The Basics part 5

    • 7. Busting The Barres

    • 8. Trying The Triads

    • 9. Cool Chords

    • 10. Slashing The Chords

    • 11. Power Chord Creative

    • 12. Diminished Dimension

    • 13. Essential Jazz

    • 14. Tweak The Tuning


About This Class

I've been playing and teaching guitar for many years, and I'm still amazed by the inspiration you can get just by placing your fingers on the fretboard in sometimes random ways. You can pick or strum a chord, change your fingers around, take one off, or put one down, and "hey presto!" some wonderful sound leaps out of your box with strings. I'm not saying playing some chords are always easy, and it can sometimes feel like an assault course for the fingers, but stick with it and reap the rewards.

When I'm teaching I'll often introduce a novice player to an easy to play chord with an exotic sound, and find they're quickly hooked and inspired to learn more. In this course I want to share some of the many ways you can get creative with chords and hopefully inspire you to experiment with them in your own learning and styles of playing; write songs, or simply sit there and chill out!

The chords can be strummed or picked, and I'll give you some of my interpretations on the way. I don't want to get too technical or bogged down with 'chord chemistry' as they say, think of them as ideas to play around with - just a few of the many possibilities. If you're new to playing, most shapes can be both a way to inspire and also to exercise those fingers!

In this class I'll be teaching these main lessons:

Messing With The Basics
Busting The Barres
Cool Chords
Slashing The Chords
Power Chord Creative
Diminshed Dimension
Essential Jazz
Tweak The Tuning

Please follow the video lessons and download the Chord Creative Manual pdf which you can find in the Class Project. This will enable you to follow all the exercises more easily.

So, sit back with that guitar and let's get 'Creative With Chords'.


1. Introduction: Hi, I'm repainting. Thanks for dropping by. You can find out more about me and my courses at rick. Pain dot co dot UK. So cool. Creative. If you want to get more interesting with the court sounds and you call playing and tired of playing the same old shape, then called creative, it's for you. I'll be showing you lots of different inspirational ways of changing the court. Sounds. Changing the shapes, doing loads of different things of bar chords, open chords, Loeser stuff to give you a bigger chance of greater sound in your composing and your songwriting. There'll be lots of videos with on on screen core diagrams and P D efs with diagrams and more explanation to help through the course. So if you want to get cool, creative, then let's get started. 2. Messing With The Basics part 1: Okay, so here we are on messing with the basics. We've got a few courts to change around. And I've chosen the 1st 1 which is gonna be the gold e chord on then the minor. So check out these video exercises and the way I change some of the sounds using the according the Michael. Andi, don't forget to look at the pdf and download that on for other videos. Throat. So we're gonna start on the equalled. You couldn't move this one. The next position to get kind of flamenco nice sound is in the third position with equal, like on moving down from the fourth position. Makes a good progression. Okay, if you take the shape up to the sixth position, I moved down to the first position. Uh, it's a great sound now onto the e and the e at nine. Court on this makes a good alternating movement here. Ah, Now famous E six court. Good old rock n roll staple Way e seven. The addition of a little finger here on the box on you Try this movie e six and e seven. Ah, roll back to flamenco flavour again with this e adds flat nine chord. Unusual little fingers like E major seven. Just by lifting the fingers crossed onto that string Here, you can create a really nice yeah, I'm going to the East us focal just at that little finger there, resulting scored. And then you could try the alternative, more open sounding Easter spy. Just releasing a single, too. A bit bigger, full of sound on another Cisco. It is the East seventh US full. She's pretty cool with its extension there with little finger. Okay, with E nine's pretty cool sound, you can have people funky little slider. The shape was just releasing the first finger variance. You're my nickel, but you could try using that little finger to created differently. My neck sandwiches. It's like an extension that they're onto the minor. Seven. Sounds it We just piled, releasing a finger from the minor chords. You can this one or use an extension, a little finger or mawr. Larger extension. So, yes, it's the oasis sound. We have the minus six, the mind at nine, which is great sound. Don't forget to move some of these shapes up the fretboard. Um, just right, just by moving the mine up to the fourth position gives you coming less creative. So just moving the shapes, see what you come up with. 3. Messing With The Basics part 2 : Okay. Next court on the list is the good old D court. Let's see what we can do with those. Then you get pdf's full of videos. It's not messing around with the D shape just like this one. The fretboard ready? You go from second position to wait. Just experiment. Okay? We're onto on the D C us for the sauce to sounds, um, four on the second way. Don't forget to try the d seven suss foreign t 72. Don't forget to try the d seven suss foreign t 72 de on the de six. Ah, nice sound together. Don't get if you're picking my name for the roots with the string on Avoid the crosses. You believe those strings out de six The major. I just got a nice change, I think. Thanks. Once an interesting progression is going from D two d flat five to dio 11. It's moving the first finger across from the geese. Discord like so, way to de mine de mine a D minus 70 minus six to have a little miss around the D minor shape. Uh, we got d minor D. Minor shock. Five D mind makes quite a nice sound together. Way shapes. You couldn't try moving them up down. The fretboard is an example with decides to 4. Messing With The Basics part 3: on. Now it's the turn of the a chord. So let's see if we can change the record on also the mind messing around with. I just goes trying with this one. This one goes from, say, 2nd £7 of weight. Ah, great sound between a. A major seven. Next we have the A in the A at nine. That's nine. Quite a nice son. It's a most overlooked. A lot. I think this one that's white mocha little shape is worth killing. Suss comes up, began on the exits for the answers to wait, thanks to, I think this next sequence captures. Ah, a little bit of the rock and roll flavor The A to a 67 way. Six. It's pretty cool A to a major seven to a seven, and we're on the case. Minor cold now. I think it's pretty cool. Progression the aces for True. We're using a minus seven a minus six on another a month, thanks a pretty good progression 5. Messing With The Basics part 4: Okay. Are you still with me? Good. We're gonna look at the sequel now on. See how we can get creative with that. So take a break. If you need a rest, have a cup of tea. Cup of coffee. Uh, anyway, next one sequel on now you can mess around with C shape First. Things like C at nine is another dimension A with C at five. Thinking on that. Si seven to see six is kind of swinging flavor. Here we have one of the most famous movements between C and C major, seventh try full of C major Seventh by using this shape gives it a little bit more base seats a CIA lamented, which is school temporary currency. So sees us for one weapon on the way. Way sees us, Teoh. See, for us, for this is a C seven to see diminished diminish began. Try moving it up in steps for, uh, 6. Messing With The Basics part 5: you guessed it. Next time is the G chord and now into the G shape. Basic g Simplify that. Just the booth writing the third finger on the B string books full of sound. Just put a man sound. Ah, different textures for the same court. On If you take the mind of a G chord on G six and G seven, you get a nice little shuffle way on these two. So schools in the G sound very open eyes for Jesus Chu. The previous shapes put a bit easier on the top strings. So Jesus for Jesus Weight. G two G 11 Sounds pretty good. Um, in this sequence, there's lots of possibilities for manatee and movement. You can she's ring finger on this one. It's interesting progression. 7. Busting The Barres: Okay. Next section is the busting The what is it? Busting the bars? Yes. Busting the bars. Now we No, that's really like playing these very tough on your hand. So some of things you can do like this Releasing the top string from the pressure from the top string. Great. Alternate on, uh, creative sound because one of the things within a look at in busting the bars, which is coming up now. So go for the videos. Download the pdf for other diagrams. See you later. I can't run to busting the bars. Of course, there's the big old heavy handed bar called Shapes the V shaped bar on the A shape A C shape e minus. Uh, on the A minus. I find that kind of effect. What's pretty well in the first position. Second, it was nice and 7/5. So you can decide which ones you like. Releasing the pressure from the Boston on the top strings with moving, um, especially nice in the fifth position. In effect, with the locals on, try moving. That will guarantee what's one in the second position. Full position way and the shape works were in the first position food. Maybe on fifth with seven. Maybe wait in the A minus shape, I think was one in the second position, particularly on fifth way, seven way things. Shape was really good in. 8. Trying The Triads: Okay. Next section is trying the tribes. No, they're not little aliens there. Three note chords which can make a change from playing some of the big shapes he might be used to. So little trying check videos out. I enjoy this section trying to try. It's now runs try and this will be a simple see dryers. And now you could try Are playing all this tribes and sequence. I'm gonna pick each one with individual strengths So it sounds like this. And now try playing them in different parts of the way. Theo Way. Try these typical progressions. This is the 1st 11645 progression. I see. I am a with 1564 progression. See way. The 1234 progression seem I see Try some substitution in those tried movements. 9. Cool Chords: Yes, you guessed that these are cool called section one of my favorite bits. Really? Lots of little chords. Really cool on you. Love to use them. So what's going? Check out videos and get stuck into the core cords. And now on to these core cords. Yeah, this one, especially the aces to, uh, great in 2nd 5th 7th and 10th position here. This variation. Try this one here, the minor at nine. So good in the second with seven way great movement. Here's a great sounding major Seventh chord. Very cool Is great sounding cool Released attention from the top strings way. This is a tough shape, but it's pretty nice sounding. Just move around as well. Wait on that one with this one. To start with B minus seven. Shape on. Get a nice effect by releasing the top strings way. This is a great sounding court 33. Cool in the way. Here's some cool sounds using the D minor my ideas. This is no way the coolest cools 10. Slashing The Chords: okay. In this next section, we're gonna look at slashing the cords, which really means playing a chord with a bass note that you accentuate, which is, for example, very rarely first start technique. Great for getting creative, coming up to new ideas, maybe maybe a song or composition we're calling it, slashing the cord. So let's check out the videos of this one. Now try kind of extending the movement so you get more chords into the slash called movement the way with the base of the sea called CB Get more texture between with the D and the D and the F shop in the way on the a chord uh, only a with C shop in the base. So if you play the basic F court on this time used the A string is the base I wear same effect with the mine, according to pay the minor on trying different sound with E. G in the booth, the same effect with the a minor way 11. Power Chord Creative: okay. Power chords aren't really necessary. Restricted Teoh Electric guitar with lows A distortion in Great players use power cords for acoustic guitar. So I thought I'd include this Sections were has been pretty valid. Its power called creative will survive days on this one. Um so the first start and check it out. Powerful creative. Let's start looking at some power cords. Basic powerful checkmate with density for way going from G five g four Tried G three go from G five g with a flattened fifth G with shopping. WeII done. The G three go down to G with sound done The G five chord Try flattening Rooth Powerful Some pretty good on the top strings to this is a D five. So done the D five with short strings. You try the D for D three a mess around with the intervals a bit gun with the with Theo. So we did the DIY three chord on the top strings. You control the G with you kind of way. Of course, the power cause can happen on middle strings to say five. Shape the e five here for the streak 12. Diminished Dimension: forget that cup of coffee or cup and see if you get inside now, especially rest your fingers feeling the strain on some of those shapes. But anyway, if you up to this one now diminished dimensions very versatile and inspirational called the diminished court as lows of uses and folk blues, rock jazz. I'm just going to give you a few tips on this one. So this is the diminished cool on the diminished dimension on the domestic orders we saw earlier could move up the fretboard, creating this sense of apprehension. Climax diminish. Cool is a great connecting called like this. Between the G chord, we've got three main shapes with diminished. Just this high sounding middle sounded cold way Okay, yes. So the British court can work quite nice on the base to give you this way. Between Gina Shop diminished minus 97. Long as you accent the base of your thumb pickle minutes called works really well between major seventh on 13. Essential Jazz: um, hi. I don't think looking at guitar chords could be quite complete without a little dip into the to the ocean of jazz courts. I know there's billions of those on lows of harmony, rules and theory and core chemistry, but I think it doesn't hurt to just think about maybe substituting a a regular G chord with a G major seven or G major. Six. A little bit of jazz says. So I thought we'd call this one essential jazz. Not so much of it, but just a little bit to give you an idea of some changes you can make, hopefully get a bit more creative. Okay, So instead of using just the G chord in the Siegel, for example, waiting Major seven major six movement like this way and the same goes for the minor cause that she might seem minor minor sevens. Just playing C seven minus seven minus six. Say, like these seven. Just playing C seven minus seven minus six. Let's on trial these substitution 37 There's lots of different versions. Um, try that way you try the same kind of substitutes for, say, C nine 14. Tweak The Tuning: Okay, I've changed one of the strings. Just tweak the tuning just to give some of those regular shapes a different sound. Maybe you can guess which one before you to the next lecture, which is tweaking the tuning. Could have some great fun with it. Just look at that. You don't break strings. Keep gradual tuning mostly up, sometimes down. But you can experiment with the way you treat the strings. A So I just go with most of these things. Just take a string and change it around. It's great. Great inspiration on Great for creativity with the court. So tweak the tuning. Here we go. Okay, so we're into tunings now. Tune that third string, uh, ups away on then Playing the regular shaped like any shape is your nice inspirational sound . I think g shape recuperate minor The minor shape 11. Ah, even a C shake is kind of strange how Newt I mentioned sound. Now I've tuned up the fourth string D string up to e Uh huh. So, again, some regular ships, some pretty interesting C shape along the shape way I see major seven shapes. That's pretty cool. In the A string up to be on some nice sound save ism. Open court only minor shape, like a major seven shape with the A string. Still to be a shape here sounds pretty good position. I've taken the B string and down away interesting sounds with regular shapes. This is a nice C six with the shape still using the same training with second string down Theo shape move to 57. Now, in one of the many open trainings this is G tuning. I see alternative ways of playing the G C in the d See court way.