The vast majority of currently used chord progressions rarely, if ever, undergo significant transformations. And despite the fact that we are exposed to the same small collection of them over and over again, they always seem to sound different to us, or at the very least, they have a different feel. Chord progressions have the potential to be reused quite frequently, provided that they are rearranged with a variety of different rhythms, harmonies, and melody lines.
This is a collection of chords and progressions from popular music of our day (and of days gone by) that you can repurpose for your own songwriting, riff developing, and day-to-day guitar playing. These chords and progressions come from popular music of the past as well as the present. The plan is rather straight and provides a little bit of background information and context for each chord progression that was listed; we also included an example song that corresponded to it. You will find at least one tabbed example of the progression after a list of “PROPERTIES” in the following section. According to the table of contents, I have included a significant amount of additional content that discusses chord progression theory, application, and a number of specific contexts that serve to further explain the concept. This content is intended to help readers better understand the concept.
Bear in mind that the example songs that are provided for each progression are not intended to provide you with instructions on how to play the progression in a particular way. In point of fact, each chord progression is presented here in large part due to the ease with which it can be repurposed and applied in various other settings. You can think of this as a reference for rhythm guitar players as well as a library of chord progressions. Forward: First, we are going to learn as much as we possibly can about chord progressions, and then we are going to use those chord progressions for something else.
1. The notes F, B flat, and C are used in the song “All I Wanted Was a Car” by Brad Paisley, which is in the key of F.
This irresistible riff is played on one of Brad Paisley’s Telecasters in the form of an arpeggiated pattern, which creates an incredible sound. However, the actual chord progression is easy to play and could be used in a wide variety of other country songs. It’s ready for the picking’.
The Remaining Properties
- F was used to play the key.
- Power and barre chords are the form.
- None of the critical chord extensions occur here.
- The most common genres that appear in our country are rock, pop, and metal.
2. Cm, E, B, and A Example: Hillsong’s “Lord of Lords,” which is in the key of E
In the realm of modern worship music, it is not uncommon to hear a Cm played in the key of E. If you remove the Cm from the progression, you’ll find that it’s one that all of the great blues guitar players have used. The Cm chord, on the other hand, lends it a sound that is noticeably more adaptable to a variety of contexts and more emotionally appealing.
Different Real Estate Properties
- The key was played in the following: E
- Power and openness are the forms of the chord.
- None of the critical chord extensions were able to be found.
- Contemporary worship, blues, pop, and rock music are the genres that use this instrument the most.
3. “Fm,” “B,” and “C”
To illustrate, Joe Satriani’s “House Full of Bullets” is in the key of F.
If you listen to “House Full of Bullets,” one of my favorite songs by Joe Satriani, you can hear that he uses a repetitive pattern that is made up of single notes played on the sixth and fifth strings. This pattern isn’t so much a chord progression as it is a 12-bar blues-style riff that follows the three chords listed. You can hear this pattern if you listen to “House Full of Bullets.” Because it enables you to chunk up the rhythm with the low E and A, this blues progression is one of the best there is.
chord progression based on the notes Fm, B, and C
Different Real Estate Properties
- The important role that F played in it
- The chord structure is characterized by a single note and power
- None of the critical chord extensions were able to be found.
- The most common application can be found in blues, rock, pop, and jazz.
4. The notes E, A, and B Example: Johnny Cash’s “Folsom Prison Blues,” which is in the key of E
When we talk about the 12-bar blues, “Folsom Prison Blues” by Johnny Cash is one of the more memorable uses of the E, A, and B chord progression. However, the likes of Robert Johnson and Muddy Waters would probably take precedence. It is one of the most common chord progressions for guitar players across the entirety of western music, making its rounds in all of the major genres as well as the subgenres. To put it another way, gaining knowledge of this one will definitely pay off in the long run.
The Remaining Properties
- E played a key role in:
- Power and openness make up the chord form.
- None of the critical chord extensions occur here.
- Blues, pop, rock, and jazz are the genres that use it the most.
5. The letters D, A, B, and G
“My Sacrifice” by Creed, played in the key of D is a good example.
During the latter half of the 1990s and the early 2000s, musicians in the rock scene in the United States and Canada utilized this progression an incredible amount of the time. One of the things that contribute to its ease of access is the way that it.
Features a drop D tuning and provides a chorus that is both heavy and emotional in its swells.
The Remaining Properties
- E played a key role in:
- Power and openness make up the chord form.
- None of the critical chord extensions occur here.
- Blues, pop, rock, and jazz are the genres that use them the most.
6. G, D, A, and B come in order
“My Sacrifice” by Creed, played in the key of D, is a good example.
During the latter half of the 1990s and the early 2000s, musicians in the rock scene in the United States and Canada utilized this progression an incredible amount of the time. The fact that it is played in drop D tuning, which offers a variety of heavy and emotional chorus swells, is one of the factors that contribute to the song’s approachability.
The Remaining Properties
- D was the key involved in:
- Power chord, open chord, and drop D chord form
- None of the critical chord extensions occur here.
- Hard rock, pop, metal, and post-grunge are the genres that use this instrumentation the most.
7. E, B, and G Example: “I Alone” by Live; this song is in the key of E (E).
Nothing quite captures the spirit of the ’90s like a band that was so obscure that it was impossible to look them up on Google once the internet became the primary resource for music discovery. Nevertheless, this chord progression was played perfectly on “I Alone,” resulting in a potent chorus; it is easily transferable to other grooves and can be used in a variety of ways.
The Remaining Properties
- E or B was the key that was played.
- Power and openness make up the chord form.
- None of the critical chord extensions occur here.
- Rock, post-grunge, pop, and blues are the genres that use it the most.
8. D, Am7, and G For example, Hank Williams Jr.’s “Country Boy Can Survive” is in the key of D.
Despite the fact that the Am7 is a little lost in the mix and could be mistaken for a raw sound, This progression, which features a major chord, has an appeal that is reminiscent of a folksy, down-on-the-bayou atmosphere, and it can be repurposed to fit a variety of musical styles and genres.
Different Real Estate Properties
- D was the key that allowed access to:
- Form of the chord: open position.
- Extensions crucial to the chord: the minor seventh
- Folk, country, blues, and rock music make up the majority of its applications.
9. C, G, F, and Am For example, “Innocent” by Our Lady of Peace is in the key of C. (capo 1)
The emotional impact of the song’s chorus is significantly boosted when the final note of this progression is changed to an Am. Additionally, guitarist Steve Mazur arpeggiates the chord and slows things down to give the song a more driving and reflective feel to it. [citation needed] Even though this chord progression is extremely common, it has a special and comfortable place to call its own in the post-grunge era and in the majority of the subgenres that emerged from it.
The Remaining Properties
- C was the key player in:
- The chord shape is open and powerful.
- Extensions crucial to the chords: The “Am” chord
- Post-grunge, rock, country, folk, alternative, and pop music are the genres that use it the most.
10. G, C, D, and Em Example: “Gonna Be Some Changes Made” by Bruce Hornsby is in the key of G.
Bruce Hornsby is a master at taking simple chord progressions and layering them with expansive vocal melodies. This is something that is possibly a little bit easier to do on the piano than it is on the guitar. The progression that he uses here is one of the most common ones that can be found, and it offers a wide variety of options for both the melody and the rhythm. Remembering this one early on in your playing career will serve you well.
The Remaining Properties
- G was the key player in:
- Form of the chord: open
- None of the critical chord extensions occur here.
- Bluegrass, rock, pop, and jazz are the genres that use it the most.
11. B, A G F♯
“Warning” by Incubus, in the key of B, for example
With the addition of the minor 15th interval, this chromatic walk-down sounds fantastic (minor second one octave higher). It may be difficult to make it work in other contexts, so kudos go to Mike Einziger for achieving a great rock sound while using a progression that is typically associated with jazz.
The Remaining Properties
- Played a key role in B
- Power and triadic are the forms of the chord.
- Extensions crucial to the chords: The 15th minor (minor second)
- The most common settings include jazz, blues, and rock.
12. The letters D, A, C, and G
The song “Cherub Rock” by Smashing Pumpkins is in the key of G as an example (chorus)
There was no need for Billy Corgan to reinvent the wheel in this instance; however, he did put the “Cherub Rock” track into a kind of power mode that made it seem as though you were being swept into each chord and lyric line. The progression that he implemented is highly reusable, especially in a power form, especially in a power form.
The Remaining Properties
- G was the key player in:
- Form of the chord: Power
- None of the critical chord extensions occur here.
- Rock, blues, country, post-grunge, and pop music are the genres that use it the most.
13. Examples in Dm, F, and C Example: Everlast’s “What It’s Like,” which is in the key of F
The bluesy arpeggio that serves as the centerpiece of Erik Francis Shrody’s most famous composition is highlighted by a prominent Dm chord at the beginning of the progression. It is important to take note that the progression on the track concludes with a second Dm chord as the resolution.
The Remaining Properties
- F was used to play the key.
- Form of the chord: open
- Extensions crucial to the chord: the d minor interval
- Folk, blues, country, rock, alternative, and pop music are the genres that use it the most.
14. The letters D, C, B, and F
The song “Hater” by Korn is in the key of D as an example.
Despite the fact that James Shaffer and Brian Welch manage to pull off this song with aplomb, The power and open variation are easily reproduced in standard tuning, as is the tuning’s ability to accommodate variation.
The Remaining Properties
- D was the key involved in:
- Power and openness make up the chord form.
- None of the critical chord extensions occur here.
- The most common genres they appear in are metal, rock, folk, and pop.
15. Letters D, A, and G (drop D version)
“Higher” by Creed, in the key of D (as an example)
Creed’s radio hit and Human Clay spearhead “Higher” epitomizes the rock sound of the late 1990s like nothing else. The song is tuned to drop D and uses a chord progression that is, to my knowledge, the most typical chord progression for that tuning. Because the open D and the other two root notes are located on the seventh and fifth frets, respectively, playing it in drop D is incredibly straightforward.
The Remaining Properties
- D was the key involved in:
- The chord shape is open and powerful.
- None of the critical chord extensions occur here.
- The genres of folk, country, pop, rock, and metal make the most use of it.
16. Letters A, D, and E
The song “All Shook Up” by Elvis Presley is in the key of A as an example.
This progression is used effectively in Elvis’ hit song, despite the fact that it is common in virtually all types of music and is comfortable for the hand of a guitarist when played in standard tuning. This section provides a large number of open notes to work with.
chord progression using the notes A, D, and E
- The Remaining Properties
- The role played by the key in A
- Form of the chord: Open
- None of the critical chord extensions occur here.
- Blues, rock, pop, jazz, and metal are the genres that use it the most.
Example Tabs
The chord progression based on A, D, and E in an open form
The chord progression based on A, D, and E in an open form
17.G, D, and the letter C
The song “Sweet Home Alabama” by Lynyrd Skynyrd is played in the key of D.
It would be an understatement to say that this song has been “overplayed.”
However, given its widespread use, it would be irresponsible of us not to mention it when discussing the chord progression consisting of D, C, and G.
Many people believe that this particular grouping of chords is the most dynamic and useful that has ever existed, which is why many people insist that you can learn a significant amount of music on the guitar using only the chords D, C, and G by themselves.
the chord progression in the keys of D, C, and G
The Remaining Properties
- D was the key involved in:
- Form of the chord: open
- None of the critical chord extensions occur here.
- Country music, blues, contemporary Christian music, rock, and pop music are the genres that use it the most.
Example Tabs
The chord progression in open form using the D, C, and G scales
The chord progression in open form using the D, C, and G scales
18. Examples in the keys of D, G, Bm, and A The song “Where the Streets Have no Name” by U2 is in the key of D.
A chord progression that is brilliantly constructed is obscured by one of the most well-known riffs in the history of music. The Joshua Tree track features a soulful pattern that can be easily restructured or reapplied to other melodies and rhythms. The pattern was played by a synthesizer on the track.
The Remaining Properties
- D was the key involved in:
- Form of the chord: open
- Extensions crucial to the minor chord: the third (in the III chord)
- Rock, folk, country, and pop are the genres that use it the most.
Example Tabs
The chord progression in open form using the D, G, Bm, and A notes.
19. The letters E, B, Cm, and Gm
“Under the Bridge” by the Red Hot Chili Peppers is in the key of E, for example. I’ve always believed that John Frusciante was one of the most overrated guitar players to emerge from the post-grunge era; however, the progression that he uses in “Under the Bridge” (I’m not sure whether he actually wrote it or not) is nothing short of brilliant. I’ve always thought that John Frusciante was one of the more overrated guitar players to emerge from the post-grunge era. Even when played slowly, it has a pleasing sound.
chord progression using the notes E, B, Cm, Gm, and A
The Remaining Properties
- E played a key role in:
- Forms of the chords: open or power
- Extensions of critical chords include two minor thirds.
- Most used in: Rock, jazz, blues
Example Tabs
The E, B, Cm, Gm, and A chord progression is shown here in an open form on the tab.
Tablature representation in power form of the E, B, Cm, Gm, and A chord progression
20. D, F, G, and C, followed by G
“Gasoline” by Audioslave, in the key of B, for example.
Tom Morello utilizes a drop B tuning when playing this progression, which results in the chords sounding slightly different. We have, however, changed the key to drop D in order to make it simpler to read and to make the chords more applicable to a wider variety of contexts. Both the single-note and power versions, which are tabbed out below, will be played in the drop D tuning.
chord progression using the notes D, F, G, C, and G
The Remaining Properties
- D was the key involved in:
- Form of the chord: Power
- None of the critical chord extensions occur here.
- Rock, metal, post-grunge, alternative, and pop music are the genres that use it the most.
Example Tabs
The power chord progression in D, F, G, C, and G, shown as a tablature.
21. the letters D, A, G, and Em
Example: “Somewhere Out There” by Our Lady Peace in the Key of D. This song was Our Lady Peace’s first single to be released from their album Gravity, and it is still their most well-known song. This chord progression, which varies between the verse and the chorus, provides support for the forceful lyrical performance that is being delivered. The progression that we have listed here is the one used in the chorus.
The Remaining Properties
- D was the key involved in:
- Form of the chord: open
- None of the critical chord extensions occur here.
- Pop, blues, rock, country, folk, and post-grunge are the genres that use it the most.
Tabs examples for the chord progression in open form using the notes D, A, G, and Em
the chord progression in open form using the notes D, A, G, and Em
Em, G, D, C, and A are the notes that make up the key of Em. For example, Limp Bizkit’s “Behind Blue Eyes” is in the key of Em.
This progression, which works well with acoustic instruments, is at home in a variety of musical styles and can be utilized with relative ease in an almost uncountable number of different musical contexts.
The chord progression is Em, G, D, C, and A.
The Remaining Properties
- The role that: Em played it in
- Form of the chord: open
- None of the critical chord extensions occur here.
- Folk, pop, country, rock, and blues music are the genres that use it the most.
Example Tabs
The chord progression consists of Em, G, D, C, and A in an open form.
22. Letters D, E, and F (drop D)
“The Grudge” by Tool is in the key of D, as an example.
This progression only makes sense when played in drop D, which makes it a fairly common grouping in metal, particularly due to the fact that it has a dark and minor tonal quality. This is emphasized in a frenetic rhythmic pattern throughout Adam Jones’ work on the guitar for “The Grudge.”
Chord progression using D, E, and F with a drop D
The Remaining Properties
- D was the key involved in:
- Power and a single note constitute the chord form.
- None of the critical chord extensions occur here.
- Metal, rock, and alternative music are the genres that use it the most.
Example Tabs
Tablature for the chord progression in drop D using the notes D, E, and F
The D, E minor, and F chord progression tabbed out in drop D and power form
23. Asus2, E, B, and G Example: “Three Libras” by A Perfect Circle – Key of G A
The aforementioned chord progression serves as the inspiration for the arpeggiated pattern played by Billy Howerdel at the beginning of “Three Libras.” You have the option of substituting a straightforward major chord in the key of A for the Asus2 at any time.
chord progression diagrams for the Asus2, E, B, and G chords
The Remaining Properties
- G was the key player in:
- Form of the chord: open
- None of the critical chord extensions occur here.
- Rock, metal, pop, and alternative music are the genres that use it the most.
Example tab Asus2, with chord progressions in E, B, and G on the guitar tab
Guitar tablature for the Asus2, E, B, and G chord progression
24.Am7, Dm7, G7, and Cm7 are examples of diminished seventh chords. “Fly Me to the Moon” by Frank Sinatra is in the key of C.
Frank Sinatra’s band utilized a number of jazz and blues-heavy chord progressions that served as the basis for his vocal melodies. Despite the fact that Sinatra’s voice was the primary draw of his music, the band still used these progressions. Due to the fact that it is solely made up of seventh chords, this one has a significant amount of blues influence.
The Remaining Properties
- C was the key played in:
- Form of the chord: open
- Extensions crucial to the chord: the major and minor sevenths
- The most common usages include jazz and blues.
Example Tab
Tablature for the chord progression in open form using Am7, Dm7, G7, and Cm7 on the guitar
25.”Castles in the Air” by Don McLean, in the key of E
This progression is dissected by Don McLean into an arpeggio that is catchy and melodic, and it is definitely something that you should learn on its own. Having said that, the raw progression is a pattern that can be helpfully utilized in a variety of musical styles and subgenres.
The Remaining Properties
- E played a key role in:
- Form of the chord: open
- Extensions crucial to chords: the major and minor sevenths
- Primarily heard in jazz, blues, and pop music.
26.G7, C, C9, Dm7, and C.
Take, for instance, the song “Come Fly With Me” by Frank Sinatra, which is in the key of C.
It is difficult to discern the actual track, primarily due to the emphasis on horns and vocals, which is typical of jazz compositions. This makes it difficult to hear the actual instrumentation being played. If, however, the raw chords were removed, this progression would have a wonderful feel to it and would be an excellent foundation for blues or jazz improvisation.
chord progression using G7, C, C9, Dm7, and C chords
The Remaining Properties
- C was the key player in:
- Form of the chord: open
- Extensions of crucial chords: the ninth and seventh intervals
- The most common usages include jazz and blues.
27. F, Em, Am, G, and Am are numbered
The song “Losing my Religion” by R.E.M. is in the key of Am, for example.
This song features a significant number of different chord progressions, giving the listener a wide variety of options to choose from. But the progression that is played during the last two lines is the one that I want to draw attention to because it has a full sound, and it resolves on an A minor chord, which is the actual key that the song is in.
The Remaining Properties
- The role of the key in:
- The chord shape is open and powerful.
- None of the critical chord extensions occur here.
- Rock metal, alternative music, and pop music are where it is used the most.
Example Tab
Open form guitar tab for the chord progression consisting of F, Em, Am, G, and Am.
The guitar tab in power form shows the chord progression in F, Em, Am, G, and Am.
It’s All About That Chord Progression Formula
What would you do if you wanted to think of additional chord progressions? There is a formula that can be used in theory to accomplish this, and you can make use of it in the event that you require some structure in order to get started. First, select a key, and then locate the major scale that corresponds to that key. Take, for instance, the key of C as an example.
Here’s your scale:
C – D – E – F – G – A – B
Because each note in a scale corresponds to a degree of the scale, chord progressions can be constructed from scales. Therefore, the major scale could also be written out like this:
I – ii – iii – IV – V – vi – vii
After that, the following titles are respectively awarded to each degree:
Tonic I Supertonic (ii) Mediant (iii) Subdominant (IV) Dominant (V) Submediant (vi) Leading tone (vii)
Developing your own chord progressions by building them up step by step
The chord progression diagram can be followed in the following manner:
To begin, locate your root note, which in this case is C, which serves as the tonic and is denoted by me.
You are free to choose any scale degree after that, so let’s start with IV.
We have the option of continuing on to V or vii° from there. Let’s follow V’s lead here.
It is important to take note that the tonic can go to any chord, which indicates that you could have followed it with a note other than the IV. If we had selected iii instead, it would have proceeded to vi, at which point we would have been given the option of either ii or IV.
You would proceed by carefully following the diagram until it brought you back to the tonic chord. As a result of the previous three steps, the progression that we arrive at is as follows:
I, IV, and V, are also known as Tonic, Subdominant, and Dominant.
Putting all of this information back into the context of the C major scale yields the following chord progression: C – F – G
And this can be transposed to any scale with relative ease. Consider, for instance, the major scale of E: E – F♯ – G♯ – A – B – C♯
E, A, and B are the results you get when you apply the progression I, IV, and V in that order.
In this way, you can begin to understand how we get some of these chord progressions that are more typical and frequently used.
Chord progressions and descending triads
Dyads are a type of two-note chord that can be strung together in a progression in a way that is both speedy and simple. Using dyads is an additional simple method for building chord progressions. We are going to focus on two distinct varieties of dyads, both of which are differentiated from one another by the interval that is present in each chord.
- Octave
- Major fifth
It is not difficult to understand the concept of intervals even if you have never heard of them before. Simply put, an interval refers to the amount of space that exists between two notes on the fretboard. In the case of a dyad, as well as any other guitar chord, the note that serves as the point of origin for the distance measurement is the root note.
The type of interval that a chord has will be determined by the distance between the root note and the second note in the chord.
Major fifth dyad
One of these intervals, which is located seven frets away from the root note, is referred to as a major fifth and is denoted by the term. This is an example of tabbed content:
tab for the fifth major dyad on the guitar
You can start this root note on any fret on the sixth, fifth, fourth, or second string and play the same shape. I’ve decided to put my root note on the fourth string at the fifth fret because that’s where I normally play it, but you don’t have to. The only note that accompanies the root note is a perfect fifth, which can be found at the seventh fret of the guitar.
This is your very first dyadic chord, which is very basic.
Octave dyad
The only difference is that our interval is (predictably) one octave higher than the root, which means that it’s the same note at a higher pitch, 12 semitones (frets) above the root. An octave dyad has almost the same appearance as a regular dyad.
D major dyadic shape
A moveable dyad is the sound of a major scale that is produced when the basic shape of a D chord is played.
We ignore the root D because we believe it to be a ghost note. If we move the note that is located at the third fret, which is a D, up to the fifth fret, which is an E, we will have another usable dyad. This is because note E is the fifth of the root A.
Once we have a firm grasp on fundamental dyadic shapes, we will be able to use them to construct chord progressions that are a little more complex and involved than those that are created by playing only root notes.
Chord Progressions Containing Triads
Triads are three-note chords that formally include the following intervals:, and. In order to build on the dyads that we have just learned, we can apply the same principles and techniques to triads, which are three-note chords.
- Root
- Third
- Fifth
On the other hand, it is generally agreed upon that a dyad can be constructed out of any three-note chord that resolves to its own key. In the interest of constructing and comprehending chord progressions, we will view triads in this context in this manner for the time being. For instance, if you take the shape of the D major dyad that we just went over and add the root note, you will get a fairly common triadic chord that has a D root note, a D fifth note, and a D octave note:
Triadic chords of the major and minor scales are frequently used.
In this section, we are going to concentrate on a few movable triads that you will be able to use the majority of the time. The majority of these chords will be presented in the key of C; however, it is important to keep in mind that they can be moved to any fret.
In many instances, a triadic chord can be thought of as a simplified version of an open chord, which is a much more well-known chord.
Consider, for instance, the unreserved C major:
There are four notes here, but the highest one on the first fret, which is a C, can be skipped because we are already getting a C from the root note, which is located on the third fret.
Our triadic shape should now look like the one in the following diagram, and it should be much simpler for us to move it to other frets.
Therefore, if we transpose the chord root to the fifth fret, we will obtain the following shape:
Make an effort to select each shape one after the other.
Let’s take a look at some more triad chords, shall we?
The power chord is based on the triad.
A power chord, which consists of three different notes, is one of the chords that is used the most frequently. The first note is the root note, then there is the fifth note, and finally, there is an octave above the root note.
For example:
This chord can be fretted and moved with relative ease, and it can function effectively with a root note played on either the sixth or the fifth string.
If you want the chord to have a different tone, you can change the position of the fifth. For instance, rather than adding a perfect fifth, you could add a major third, which will land on the seventh fret of the instrument.
You can easily develop chord progressions consisting entirely of triadic power chords by utilizing the movement of both the root note and the interval in your chord progressions.
The shape of a major barre chord in the triadic position
If you begin a barre chord with the root note on the fifth string, the typical shape of a major chord will look as follows:
When we play the first string without the root note and the high G, we get a nice triadic chord in which the lower root note of C is assumed to be present.
One finger is all that’s needed to bar this chord in its entirety. Altering the notes played on the second and third strings enables you to create a number of additional triadic chords that can be put to good use.
The following are some alternatives that do not affect the key:
The shape of a minor barre chord in the triadic position
Changing this chord to a minor key is a very simple process. Move the note that is currently located at the fifth fret on the second string down one semitone so that it is now located at the fourth fret.
The shape of the D minor triadic chord.
In a manner not dissimilar to the previous example, we can use the shape of the D minor chord to locate yet another helpful triadic chord.
When it comes to constructing chord progressions and layering bass lines, the simplest shapes and patterns are frequently the ones that end up proving to be the most useful. Put these into practice, commit them to memory, and incorporate them into your chord vocabulary.
The progression of the G, C, and D Chords
In this part of the lesson, we’re going to concentrate specifically on the G C D chord progression, which is both one of the simplest and most commonly used arrangements. However, when playing each chord in its most conventional form, the pointer, middle, and ring fingers would all be fretting the root note of a chord at one point or another during the course of the performance. That is not an easy task, particularly for someone who is just getting started.
But why should you play each chord in the form that is most commonly associated with it? You are in no way required to play a standard G, C, and D at all times. In point of fact, it would be to your advantage not to.
Making the Advancement Less Challenging
When I first began learning these three chords, the first thing I did was learn the basic forms that are probably already known to the majority of people.
The versions of an open G major chord, a C major chord, and a D major chord that you see here are what I would refer to as “formal” or “proper.”
What I wanted to do was find a way to move my fingers as little as possible, which may sound like cheating, but it made the transitions smoother and really helped to tighten up the progression. I was able to do this by using a technique called cross-picking.
Since then, I’ve always played it in this manner.
Find out how to make a smooth transition between G, C, and D.
Throughout the entirety of the progression, we are going to place our primary emphasis on the following three fundamental aspects:
The note of D, which is located on the second string
The fundamental note, or root, of each chord.
The octaves as well as the intervals
The D note that I want to talk about is located on the second string and the third fret of the guitar.
Throughout the entirety of the progression, we are going to maintain that note with our ring finger and never move our hand from the position where it is currently resting.
Therefore, to get ready, you should position your ring finger so that it can play that note.
In the second step, we will add the root note of each chord, and then we will rock back and forth between that root note and our D: By this point, you should be able to start seeing the progression coming together. First, we’ll add one more step, and then we’ll proceed to strum through the entire thing.
In order to play a G chord, we will play an open G on the third string, which is the octave note for the G chord. We’ll use a perfect fifth for the C chord and a perfect fourth for the D chord as our intervals for the C and D chords, respectively.
The arpeggio can be tabbed out as follows:
First, let’s go ahead and strum straight through the chords, and then (if you haven’t already noticed it) we’ll talk about the practical beauty of this method.
You are only fretting one additional note for each chord, in addition to the D note that you are playing on the second string.
That means you can grab each root note with just one finger if you want to. Therefore, your hand won’t have to move from that spot, and you’ll be able to switch through each chord with movements that are straightforward and brief.
As a result, switching between these chords is made to be extraordinarily simple and fast. The fact that it sounds better and cleaner than the formal version of the progression is something that is even more important about it.
The fluctuation in power (standard and drop D versions)
The second step in becoming an expert at the G, C, and D chord progression is to become familiar with the most basic form of the power chord. In order to accomplish this, we will examine two distinct tunings, standard and drop D, each corresponding to a unique version of the progression. Let’s start with the most common form of this variation. Only two notes are required to complete our power chord.
The perfect fifth interval of the root note
Because we are going to be playing power chords, the G note at the third fret on the sixth string will serve as our root note. Our fifth will be played on the fifth string, which also corresponds to the fifth fret (a D in this case).
This form will also serve you well when playing power chords in the keys of C and D. In a standard tuning; there are also two distinct ways to play the complete progression on a guitar. To begin, rather than lifting your fingers off the frets, you can slide up to the root notes on the sixth string. This will get you there faster.
Power chords that slide through the G, C, and D progression.
The second technique is to make use of the root notes on the fifth string, which is located directly beneath the initial G chord that we played on the sixth string. The following is an example of what the tab looks like:
Bringing the root notes of the instrument up to the fifth stringYou have the option of sliding to each chord or switching strings for a more immediate change in chord position. Both of these power variations of this chord progression are reasonably quick and, by far, the most common ones to be found in use today.
The drop D variation is the same idea, but to play each chord, you only need to use one finger on your playing hand. If you lower the sixth string by one whole step, the note G will now land on the fifth fret of your guitar. This will cause the other two chords to move up two frets as well.
Utilizing a drop-D tuning while playing the G, C, and D chord progression. Because we moved the sixth string to a lower note (D), the final chord only uses the top three open strings of the guitar. This makes the progression even simpler to play.
Fewer fingers and fewer movements overall.
This method does not require you to use more than two fingers at a time for anything at any point in the process. Even though the more complex methods are seen as more formal and appropriate, I believe it is best to first firmly establish your progressions and lock them down with the simpler methods before moving on to the more difficult ones. Some people might view this as being a bit cheap. When changing chords, you will be in a better position to succeed if you use fewer fingers and make fewer physical adjustments than usual.