Math Rock & Midwest Emo Chords Essentials

1. Class Introduction: Hey, there, Steve, hope you doing well? First of all, I want to say a big thank you for making a decision to take this workshop where you will master the basics of Maro chords Mf rock chord progressions, and we will take a look at some of the most commonly used drumming patterns by Math rock guitarists. I've been helping guitarists like you get to grips with the basics of Mthroc guitar for a few good years now. Be this via my one to one lessons or just interacting with guitarist online or talking to guitarist on live streams, or it might have been just talking to guitarist in my Mf rock discord, or it could be, of course, from one of the many videos that I've put out on this topic on my channel. Seeing the results that guitarist got from my one to one lessons, my personal interactions, from my content, always kept me motivated to keep going, and knowing that I was helping and hopefully not adding to the confusion was always a great feeling. My hope is you're going to get to the results that you want, and you're going to do this in a lot shorter time, a lot less effort, and you're going to save yourself the headache of having to try and work this all out for yourself. So the structure of this workshop is as follows. First, we'll look at mastering the basics of commonly used chords in Maroc and Mist West sema, and of course, related styles. Next, you will see these chords and action by learning some core progressions across a range of Maroc style songs. Lastly, you will put these chords into action once again by learning some valuable functional core progressions, and these are going to help you start writing song ideas, and you will combine these with some of the most commonly used strumming patterns used by MFrock and Midwest ma guitarists to further spark song ideas. Really excited for this one. I hope you're going to find it super useful. Grab your guitar, and let's get stuck in. 2. Part 1 - What are math rock chords?: Typically a mafroc and mafroc adjacent music, guitarists will make use of dissonant chords, and we will also make use of lots of different tunings. But for the sake of simplicity, and as this is an introduction, we're going to just stick to standard tuning for this workshop. And this doesn't mean because these chords are dissonant that they sound nasty. Basically, they have more harmonic information because we're adding notes to these chords. For example, if you note this like C major bar chord shape here. If we were to add an extended chord, By changing this one note, we've introduced this seventh note. If you listen carefully has dissonance to it, it does clash, and that's what we mean by some dissonance added to this chord. There is extra harmonic information. This extra information, this extra feeling that we put into the chord is often more suited to Mfrock styles of guitar playing. The coords that you will learn in this section are largely derived from jazz music. However, their application is very different to jazz music and you'll start to see why they sound less jazzy the more that we play them and apply them to math rock styles of music. If you're worried that this is going to be a bombardment of theory in this section. Rest assured. I'm only going to give you what theory I feel is completely necessary to help you understand the application of the chords and situate them within a chord progression. Also, it's worth pointing out that there are many different variations of the chords that I'm going to show you here. Chords that I've included are chords that I've noticed over my assessment of many different songs that are in standard tuning in math rock and associated styles. These are the most commonly used chords that I've found. I like using them to, and I'm sure you To place these chords in terms of where you would learn them in your chord learning journey, let's say, we're looking at extensions here. So I'd put these just above bar chords. If you can play this, that a major bar shape, which I know is a pesky shape to learn, especially as a beginner guitarist. If you can do that, then you will be completely fine with the chords that I am about to show you. So for each extended chord, I will go through this process. First, we'll look at how we can play each chord starting from the low E string, the A string and the D string to give you maximum coverage. And no matter where you are on the fret board, there'll be one of these chords available to you to use. Second, I'll show you the best fingering practices for each of these chords. And lastly, we'll practice moving between these cord shapes across the EA and the D string by using some common patterns of accent. So you can think of them as really simple strumming patterns. These core shapes can be a little bit tricky at first, but that's why we're going to go through this three step process just to make sure you're well on your way to mastering them by the end of this workshop. 3. Extended 7 Chords and Practice: To begin with, the most common extension that's found in Mafroc is the seventh extended chord. These are pretty much straight up jazz sounding in nature. I'm not going to lie, but the approach to different strumming patterns, different pegating patterns. The overall different sound of the instrument itself, the way that we might apply effects or the different types of guitars we use, all add to it just dist distant distancing That took me a while to get to. Distancing distancing distancing itself. I've forgot how to speak the English language from jazz. Anyway, so it's not going to sound like you're playing a jazz piece at the end of this rest assured. So to begin with, let's look at this major shape. We're going to have our A notes, and we're going to look at that in the f places from the Lowe, the A string, and the D string. So we're going to start with here for this shape. A really easy way to get this is. If you're familiar with that A bark shape, you've got the shape in there. I want you to move that to the D string and down one fret. And then bring in your index finger up here. Moving down to the A string here, we're going to start from the 12 t of your index, then your ring finger on the 14th, then your middle finger on the 13th, and your liddle finger on the 14th. It's kind of like that bar shape you're probably familiar with. But this note The major seven is there, so it's flattened. And for the D string, our A note is here, and this one is not too difficult. If you think of that major shape that you play there, we're just going to move that here instead. Because of the B string, we don't need to move that middle note anymore. And if you're up for fingering with this one, you can bar these last three strings by sorry, your ring finger here. Let's go through these slowly together. A from the string, A Major seven, from the A string, A Major seven, and from the D string A major seven. These are all movable shapes, say. You can obviously move them around and play anywhere on the fret board that way. So, you know, the core shapes, now aware of some of the best fingering practices. Let's practice some simple strumming patterns to move between this. And because we're doing ma frock, let's try 54. And we're going to try and accent different beats and 54. So for this first progression, we're going to accent beats one and two and four. So that's going to sound like this. Two, three, four, five, two, three. And five, two, three, five, two, three, four, five. Now, what to get comfortable with me doing that. 02, three, four, five, two, three, five. Okay, let's do four, and then move to our next chord. Five. Two, three, five, two, three, three, five, two, three, five, two, three, three, five. Three, four, five, two, three, four, five, four, five, two, three, 45. And we move to our last shape. Three, four, five, two, three, four, five, one, three, four, five, two, three, four, five. What we're going to do now is put let's put some dead space in between. So, for example, one, two, three, four, three, four, five, three, four, five. Five, three, five. Let's practice that again, four on each of these courts, four cycles, I should say. One, two, three, four, five, two, three, five. Three, five, two, three, four, 53, four, five, three, five, two, three, five. Two, three, four, five, three, four, five, one, three, four, five, one, two, three, four, five, one, two, three, 45. Alright, good. Let's move on to look at the minor shape, and you're always more than welcome to rewind and just play along with me there with that strumming pan with those major chords as many times as you want, and you need to move on to this next shape. So we're going to look at the minus seven shape now. We're done major. Let's look at the minor. And for this one, again, we're going to do the A in D. And we're going to start from the F sharp on the second fret here. So for this chord shape, if you're familiar with your minor bar chord, It's actually quite it's a lot easier than that, to be honest. You fingers go in order of each other, so you have your index on the second on the low E on the second. Your middle on the D string on the second fret on the G string here with your ring finger, second fret again, and then with the B string again on the second fret there. Now again, if you're feeling up to it, you can bar these three strings with your ring finger instead. So that's the minus seven shape there. And we find the F sharp up here, and you're probably familiar again with this bar shape. Here, we're going to remove our little finger and bar a cross with our index finger instead. Let's remove that finger. You don't have to play the e string. And that is your minor seven variation here. And another variation that mapo guitarists use often is this shape instead. Same chord has a different flavor, right? And the reason is because you can play this minor shape along with it. So this one starts with your middle finger here. On the ninth fat, and then your index on the seventh fret on the D string. Ring finger on the ninth. And then your little finger on the string s and your little finger on the B string on the tenth. And starting from the D string, going to come up here, index on the fourth here, little finger on the sixth fret, and then your middle on the fifth, and then your ring finger on the fifth as well on the string. So it might be a little tricky this one. But take your time. It will become familiar, obviously, the more you practice this. Let's go for each one. The alternative shape. And Alright. Now, let's practice again with a strumming, well, an accent pattern, let's say, in 54. So for this one, let's do a little bit simpler. Let's do one, two, three, and not play on the four and the five. Okay. Let's try this out then, 52, three, four, five. 453, four, five, one, two, three, four, five, two, four, five. Get that riml ing grain into, two, three, four, five, two, three, four, five. And then we'll start practicing moving between the core shapes again. So you ready? One, two, three, four, 53454, 545. T452, three, 45, two, three, 4545. Please try the alternative. 45. Two, three, 45245. And the last one, get that again. 02, 45. Two, four, five, five, four, five. So now let's try and practice up four times around again, but we'll not put any gaps in between the chords, and we'll play that alternative 22345. Five, p two, three, four f. Two, three, four, five, two, four, 52345. That's it three, four, five, one, two, three, four, five. Got the alternative? I get the cord 45, two, three, 4545. Last one. 3 454-545-4545. And let's practice this now without learning it ring, but I want you to play dead notes like this for the four and the five, k. So, for example, 4524, five, four, five. Two, four, five. Okay. I think you can do it. So let's try this together. 02, three, four, five. Four, five, two. Five, four, five. Four, five. Two, three, four, five, two, three, four, five. Two, four, five, four, five. Two, four, five, four, five, one, two, four. 42. 45. Four, five, 12, four, 542, four, five, 42, four, five, 42. Four, five. Really locking in here. F, great. Okay, let's move on to look at the next. So our next variation is a dominant or. These are very jazzy in nature. We're going to be going from the G string on this one. It's like our regular major chord, but we're going to do instead of this going to bring in the seventh here. So the fingering for this one, very similar to the minor chord, but we're going to bring up this note here. And to finger this one, we can go index on the third front here on the string, middle on the third front here, our little finger on the fourth ft on the G string, and our ring finger on the B string there. And then the G down here, For this one, it's very much like the Major seven shape. But you already learned. But this sevens going to flatten, so you're going to bar it instead across like that. It's a little tricky at first. I must admit to get the strength here with this finger with your index. An alternative that guitarists will use is called a dominant nine instead, which is a bit easier to finger. Middle index ring and little finger. 109, 1010. It just offers a little bit of a different flavor, and it's a bit easier to play. Going from the D string, Agena up here, and a wonderful fing is here. It's actually that same shape as you know, the major seven shape, but just played from the Dan. So you're already familiar with that shape. So that makes things a lot easier. Here's the chord one after the other. The variation. And let's again, practice them with a 54 pattern. This time, let's do a variation on that first pattern. Let's do one accent beats one, three, and four instead. All right. So here's an example of how that's going to sound, F four, five. 245. 45s. 451 2345. So familiar with that, let's do four cycles on each of these chords, including that variation, the nine chord. Four, five, four, 545-234-5345, one, two, 345, 345-555-5454, five. Four, five. Yeah, I can keep going there, but you get the gifts, and let's practice that again as well, but we'll put the stops in between. Four, 524, five, 25, two, 345. 554, five, three, four, five, three, four, five. Five, three, four, five, f two, four, five, 12, four, five, two, three, four, five, four, five, 22, four, five, 94, five, f 555. So moving on to our last extension for the seven courts, this is going to be a minus seven flat five, so it's basically a half diminished court, and they have this kind of, like, attention to them. Very dark sounding. And they need to be well, they sound like they want to be released, right? In Maproc, they do occur, and one way that is often used this day have thrown either a semitone up, so one threat up or one threat below a chord that you are using. So, for example, if I was playing this major chord here. I would throw in this that diminished chord there the half one. Or I could go the other way. I just add this unexpected bit of coloring to a cor progression, so you could move chromatically. And again, let's learn these shapes on the E eight and the D string. So starting this one, we're going to go G sharp, which is the fourth fret. And it's kind of like your minus seven shape, but these fingers here are shifted up this way, and your middle finger jumps over the A string. So you've got four fret with your middle finger. And then you've got four ft with your ring finger on the string, and then G string with your little finger. And then your index is going to be on the third fret here on the B string. Okay And the good news, our G shot one, like we've noticed, is very similar to the Major seven shape. We'll just bring our index finger up one threat. And then we go. And then for from the D string as well, it's relatively easy. Again, it's like that major seven shape, but guess what? Comes up a fret again. You can finger that one like this in a row. It's really easily done. Or you could use your ring finger to it again. So, that. And for maximum coverage. Let's practice one last time. B do 54. But this time, let's not accent the one. Let's make it a little bit more tricky. It would do two beats two, three, and four. So I'm not going to be playing on the one and a five for this one. Okay. So let's get that first shape. So be like this one, two, five, one, 21, two, one. Five. Now are you familiar with that. Let's try shifting four cycles on each of them. One, two, three. 51. 5151. F one. 51. 51. 51. F one. 51. 51. 51. There we go. Let's try that as well without letting it ring 234 5151. Five. F one. One. Five, one. 51. 51. 51. 512 I got carried away there. Five, one, one. T five. One. And again, I just went all the way through there, but you get the gist. That's the pattern I would like you to practice. So if you have got a metroon, set it to five and just try and do Well, you don't have to do just that strumming pattern, of course, but it's one that we can practice together, just to become familiar with moving between these shapes. 4. Extended 7 Shell Chord Voicings and Practice: Moving on, another type of seven cord that is commonly used in math rock and associated styles is something called a shell voicing. This means we take a cord and we use just the necessary notes, minimal amount of notes we can use to make that cord sound like the cord. It should be. Put simply, we're stripping away notes to just leave the bare bones the shell of that cord shape. They sound great with a bit of gain applied. There's some good news. These cord shapes are a lot easier to finger because we only have three notes per cord. And a lot of the shapes, as we move them across the different strings, they follow a similar pattern, too. So it makes them just so much more easier to learn. And that's I think why they're so attractive just to start using, you know, from now on, basically. Going back to A, the A major seven shell voicing middle finger on the a string, sorry, on the string on the fifth threat. Your index on the fourth threat on the A string, and your little finger here on the six threat on the D string. And you could use your ring finger here instead. But there's a reason why I like to use my little finger instep because play the A there. Same shape here. From the 12 that. Same fingering as well. But when we come to the D string, because of this B string, we have to move it up one to stop it being a dominant chord into a major chord. And that's a bit of a hard stretch to use to use your ring finger there, so that's why I'd like to just keep the fingering the same for each one of those. Let's practice moving between these shapes. Because these core shapes are a little bit easier, let's practice a shorter time signature. Let's go 34, and we're going to try and just play on the beat one of every chord at the beginning. On. 31. And we can staccato it like that or we can strum it like that, by. I like this kind of marching forward sound. And let's practice move into the as cord. F 01, three. One. One. In the last one. And another thing I'd like it to practice is a triplet rhythm. I Pegating these cores instead, if you're up for it. So I'll show you what this looks like, one, two, three, one, two, three, one, two, three. So every down beat you go to hit that E string with the A mam. The try this one out. If you can't play it like I am the man instead, do it like this. Hold the core shape and pick over the strings and up down alternate pattern. And then we'll s e. D D D. In that way, it's great to get used to this string skipping pedio, which again is a great potential of these shell voicings. So moving on to the minor variations for these shell voicings. Again, we've got quite similar patterns repeated across the fret board. We'll go B minor for this one. And this goes seventh fret here with your ring finger. And then your index finger on the fifth fret on the A string, and then your little finger on the D string on the seventh fret. That's a sound you're gonna get there. If we move B down here. Same fingering again, from the 14th fret on the A string. And this is where it changes a little here. Because of the B string. Same fingering, but just slide your little finger at one fret. And then you get maximum coverage over the strings that way. And again, let's do that triple rhythm practice. One, two, one, two, When you're comfortable? Practice moving to the next board. Let's move again. Try it fast. Alright, great. Making great progress here. So let's try that triple peggio pattern again to free. Triple T trip trip trip. Again, if you can't play it this way, let's let all other strings ring this way. Nothing wrong with that. And then when you're ready again, you can practice giving strings. A b. Moving on, we've got our dominant core voicing. For this one, we'll do G. So it's very much like your major, but this seven, it's going to be flattened to get that dominant sound. So middle on the third fret, your index next on the second fret, and then your ring finger on the third again on the string. Again, this is a good movable shape. And of course, again, when we come to you have to slide that one fret for the B string. So? Of course, let's practice that with our 34 rhythm. T one, two, 31. O. O. Last one. T. Let's move. Let's move again. Let's back toe that trip that trip it rhythm. Alright. Excellent. So there is no minus seven flat five shell voicing. That fits into this free finger fingering anyway, because because of the minus seven flat five has four notes in it. Instead it has the root the flat third flat fifth and a flat seventh as well. So there's no way to really make that as a free note voicing, because you're just going to end up with the the minus seven. So you could just use that minus seven shape in its place and not have to worry about it at all when using shell voicing. 5. Extended 9 Chords and Practice: For the last of commonly used chords in MFroc, in stator tuning, we have extended nine chords. So we're going to add another note to our chord. And they just add this bit more flare to them than the major seven counterparts, and the major nine chord is personally one of my favorite chords. And for this one, we're just going to look at major nine and minor nine variations. So again, we'll start with the A string here, we're going to have A Major nine, which is played like this. And that's going to be you have to bar, but you start off on the E string here on the fifth ft with your middle finger. Then you're going to bar the free strings here, the fourth ft with the AD and the G strings with your index finger. Then you're going to bring your little finger down here. It's a little bit tricky on the six frot here to put the major seven in. That's a lovely little cord there. Then for the variation start from the A string here, you're going to start again with your middle finger, and that's going to be on the 12 foot here. Then you're followed by your index finger, on the 11th, then your little finger on the 13th on G string, sorry, and then your ring finger on the 12th ft on the B string. It's a little tricky to finger. Now for the last one again from the A, so again it's this shape, but we're going to move up because of the B string. We're going to bring up our little finger. It's the same fingering. So that one's a little bit tricky because of the stretch. The lovely called that one. And for this one, we're going to go to 68, and we're going to practice this This nice rhythm that you can use in 68 time. It's going to sound like this for 56 try that one with you. This A D. W comfortable. M to the A st. I say again. That little tricky stretch. I it's easier for you. Can let it rain. M56. That might be easier for you. Ops. And moving on to the minor nine variation, we're going to do B for this one. And I love this or. Sounds like that. And we're going to start from the seventh threat here with our ring finger on the string. Then I'll index on the fifth fret on the A string. Then our little finger down here. So it's like that shell voicing. I should put it that way. It's a lot easier. But we're going to add this note here on the sixth threat with our middle finger. It might be a little tricky to finger at first, but persevere, 'cause it's a wonderful sounding shape. And then good news is it's quite easier down here. So if it goes to B, you're gonna have to move your finger shapes a little bit. Sorry, position your fingers a little bit different for this shape, but it's relatively easy. Middle finger on the 14th, 12th on the D string with your index finger, and then f for the G and the B string with your ring and little finger. And for the last one, again, this one can be a little bit tricky. So for B. Because of this B string side. It's almost the same shape right. It's definitely a bit easier than the major counterpart that we looked at. Fun. Okay, so again, let's just go through those. So from the string. A string. And lastly, the D string like that. And let's practice that with that 68 rhythm. One, two, three, four, five, six. It's lovely, that one. Has a lot of ambition to a core, right? Imagine that of a nice bit again. It comfortable. Move it down to the a string. Completion with the D stream. All right, a lot for you to unpack a learn in this section. I have included a handy cord chart down below with all the chords for you to reference. So I do suggest go through them one more time, get familiar with them. When you're feeling comfortable, you can start to jump into the next section. And in the next section, you're going to see these cords in action by learning some popular progressions from math rock songs. See you there. 6. Part 2: Essential Chord Progressions and Strumming Patterns for Math Rock & Midwest Emo Introduction: Now you are becoming familiar with the basics of maproc chords. You've looked at some core progressions. It's time to move on to the last segment of this workshop, where you will learn some functional core progressions that you can put into action. By functional, I mean they can serve a purpose within the song. These core progressions are already situated in some kind of idea. For example, I might say this kind of core progression. Is more suited to being a chorus section of a song. Nevertheless, I just want to make it explicitly clear that these corp aggressions can be indeed used in other functions for other songs. I do encourage you to use them and experiment with them in your own ways. Also, it's common for MFra guitarist, Midwest ma guitarists, and styles that are associated with it. Not just to strum corp aggressions, they will peg ideas or perhaps they combine them with some other techniques, they might embellish chords, adding or taking away notes. I just want to say there's more to it than just drumming chords. However, like in any guitar journey, and in my experience, it's better just to take things one step at a time. Therefore, let's just concentrate on strumming patterns for now, and then later on, you can start to look at the different techniques you can use and the different ways that you can use these chords. Hey, who knows, by the time you're watching this, there might be a workshop that's already dedicated to that. These coord progressions are all titonic, meaning they all stick within one key. This makes it much easier for us, and it's a great logical starting point. To clarify, let's say we're in a key of C major. Can build certain chords from each degree of this scale, and we have major minor or diminished chords. The one, four and five are considered major chords. We can build major chords from those scale degrees, and from the 23 and the six, we can build minor chords. For the seventh, that's going to be a diminished chord. Musicians often refer to these chords with Roman numerals, and that's exactly what we will do for this section. Take a look at three functional core progressions. For each one, I'm going to give you two variations of strumming patterns that you can use, giving you more to use and demonstrating how changing the strumming pattern can radically change the feel of a core progression. I ask that you grab your guitar and let's strum a log. 7. Functional Chord Progression & Strumming Patterns 1: For the first re progression, we're going to stick to the same string just to make things a bit easier. And for this one, we have a 4241 core progression, and these are the cords that we're going to use. For the four, we're going to use this D major nine for the two, a B minor nine, and then back to the four, that D major nine, and then to our one and A major seven. And this core progression really reminds me of the bands good game. I guess they have this progression in some of their songs, and it also reminds me of, like, kind of upbeat kind of Midwest Emo song sections, too. So with that in mind, our first strumming pattern for this functional core progression is quite upbeat in nature. We're going to be at 80 BPM on the Metro name, and we're going to be in 44 time for this one. So let me demonstrate that for you with this four called the d92, three, four. So the key to this one is getting me off. Try and strum along. And now, let's practice this four times round, if I can keep cout, and we're practice moving between the core progression. And we're gonna do two cycles on each chord, I think with this one. So, one, two, three, four. Let's move. Okay, back to the for. Now, the one. Okay, one more time. A Excellent. Hope you get in the hang of that one. So let's try that again. But this time, on the offbeats, I want you to put you know, dead space like that. So the idea here is, as you hit the cord, release the pressure off the cord. Like that. So that's gonna sound like this, if I give you an example. One, two, three, four. Okay, let's try that one together. Two, three, four Alright. Excellent. One thing I forgot to say was, if you're trying to mite this into the low e string, I tend to use my thumb or the underside of my middle finger to do that. And to stop this high e ringing, then that's been taken care with the underside of my index finger. But I am aiming just to hit these four strings in between here from the A to the B string. Nick in here, if we speed that core progression up how it starts to become quite energetic, right? Okay, let's move on to the next one. For our next drawing pattern, we are moving to 34 times, so it's going to feel a bit shorter. And for this drawing pattern, we're going to accent the first and the third beats in the progression. And that sounds like this. We're using the same core progression again. One, two, three. The key to this one is making sure we cut that last one. That last beat is going to be staccato again, so cut short, so we can do like that, if you want to practice, and just take the pressure off the cord. You can also, as you can see here, I'm using the underside of my palm here to mute as well. So let's practice this one, then going through all of our core progression to free one, two free. One more time. I keep talking in time with the, of the strumming pattern. So, again, you can imagine if you speed that one up, as like More of agree to it. So let's move on to our next functional progression. 8. Functional Chord Progression & Strumming Patterns 2: So for our second functional core progression, we have a 465 progression. And in my experience, it has this kind of very mathy kind of pop feel to it. And you hear this progression a lot in mid to late 2000 British math rock. Used by a lot of British math rock bands, I should say. And the chords we're going to use for this one are an F major nine, and A minus nine. And now we're going to use a dominant for the fifth. We're going to use G nine. And we're going to stick to the same string again for this one, starting from the A string. So for our first functional strumming pattern with this functional core progression, we're going to go for a very upbeat field. This strumming pattern is inspired by the song, Bird House by the band, tiny moving parts. It can be a little tricky at first, but persevere because it feels great once you nail it. So we're play it again at a slower speed. And this one, we are back to four, four time. One, two, three, four. So, this one can be a little bit tricky because of the dead notes in between with this rhythm. The key to nailing this one is keeping it as clean as possible. So as you release pressure on the cord, you can hit those dead notes more accurately. And again, you can use your firm here or the underside of your middle finger to meet the low and the underside of one fing finger here to get that high string. We want to nail it and speed it up like that. It's a very upbeat and real cool strumming pattern that you can use. So, let's practice this together, and we'll practice moving between the three shapes. M one, two, three, four. St stop stop the S S So So moving on to our second functional stroing pattern, we're going to go to use some shell cords instead. We're going to keep the same progression of course day, but we're going to use these instead. And we're going to apply a straing pattern, and we're going to change to 54 for this one. And this patterns go to accent beats one and three with p muting in between. One, two, three, four, five. B. Two f, one, two, four. Two, and 34 and five, and one, two and three, four and five, and one, two, and three, four and five, and one, two, and three, four and five. So that's going to be the count for it there. So let's practice moving between those three chord shapes. And remember, we're using shell voicings here, and we're just going to pal mute that string, the top, the lowest note of each chord. One, two, three, four, five. D. D. D. D, D. D. O. Could be a little tricky that one, but it's a awesome picking pattern. 24 and 500. 24 and 500. 24 and 500. And it gives you something to play in 54 as well. 9. Functional Chord Progression & Strumming Patterns 3: Let's move on to our last functional chord progression. This one's a bit more moody because we're going to start on a minor chord. For this one, it's going to be a six, two, three, one progression. That sounds like this. We use that alternative shape on the E here, so we've got an e minus seven. We're going to go a minus seven, so this one we're actually going to move to different strings as well. B minus seven, and then a G major seven. This one sounding quite jazzy in ate, which is completely fine if that's what you want in your song. But again, I'll show you a couple of different strumming patterns and different ways we can use this to make it a sound a little bit more MF rock in style. We will continue to use 54 for this one, but we are going to use shell chord voicings instead. So we're going to change to an e minus seven shell voice. A minus seven, sorry. B minus seven and a G major seven. And instead of strumming it all the time, we're going to practice accenting beats one and four, and we're going to put a picking pattern for beat one, and there's going to be a bit more of a gap. So this is going to really work on your timing to get this correct playing on each of these beats correctly, sorry. So let me give you an example. One, two, three, four, five. Can leave it ringing like that, too. I like the sudden stab, the dramatic dramaticn of it, if that's a word. Pick and pan for this one. I recommend down down. For all of them. So, let's try this all the way for the progression. One, two, three, four, five. D. D D. D. D. D Yeah, you can imagine how that would fit in a song, and you could slow it down even more if you wanted to a speed a per. We go play. For a nice dramatic effect like that. So, for our last functional strumming pattern in the same chord progression, we're going back to f four. We're going to 100 BPM for this one, and we're going to use those full sized chords as well. And this is how that progression sounds. One, two, three. I like to play it with, space in between the strums, one, two, three. Try this one. Alright, there's one alternative to this, as well. If we change back to shell voicings. Let's our peg. In this pattern, S's so. First two notes of the chord. No back to the first one. And string skip to the last one. You can't. Define the notes in that manner, then. Just colick it. Let them bleed into each other. One, two, three T. So let's practice this together. One, two, three. I. D, D. D, D D D But you can imagine the faster you speed that up you get. This noise grief. Multiple so parts. Just go da. Nice. Alright, so there's a number of functional core progressions and functional stroing patterns that you can take away and use as initial song sparking ideas. Like I said, that was my hope for this section. You've got all of these new ideas, jumble around in your brain, and hopefully they're gonna come out in your own songwriting. As with previous sections, I'll leave some handy materials down below, so you can look at the core progressions and the sting patterns that we look covered in this section. 10. Part 3: Real Math Rock & Midwest Emo Chord Progressions for Newbies (Introduction): Now that you are becoming familiar with some of the commonly used chords in MFroc, the next logical step is to start learning these chords in application. To do this, we're going to learn some songs that contain these chords. The following examples cover a range of mafroc style songs, let's say, and they contain some of the chords that we've been learning, but they do contain other chords that we haven't looked at yet. A few reasons why I didn't teach some of the unfamiliar chords that you're going to see in these examples. One being that they are quite unique to that track, perhaps they're not used again really in any other MFR track. Another reason is they could just be subtle variations of the chords that we learned already. The third reason is well, I don't want to overwhelm you by just giving you a chord book and asking you to learn them all. However, if any of these chords grab your attention, then I suggest that you take them and get them into your own core vocabulary and start experimenting with them within your own song ideas. Video below to see the song along with the core progression and me playing the guitar along to it. You're going to see all of this in action. I've listed the songs in order of what I think is easier to more difficult. Again, this is just to help you self assess where you currently are, and if you can work your way through easy to difficult, then you can see your progress as you go along. How fun with this one? In the next section, we're going to look at how we can put these chords into further action by teaching you some functional core progressions along with some useful functional strumming patterns. Good look, and I'll see you there. 11. Gulfer - Heatwave (Easy): Oh. D D 12. tricot - POOL (Intermediate): Pen five s. Aura. Sura. Sura Surya. The the ppp the p p the the 13. CHON - Sleepy Tea (Difficult): H. H. O. O.