Guitar Chord Progression #3

Today’s progression is a good example of how to make effective use of minimalistic chord playing. A lot of the emphasis in this progression is on the downstrum-heavy rhythm, that really attacks those bass strings of the guitar.

So, nothing complex here, we’re just hammering out some movable/barre chord shapes (E and A) in their major forms. You’ll notice I’ve cut down the E-shape barre chord to just the bottom 4 strings – this enhances the punch of the chord shape. It’s also great for distorted playing, to keep the progression defined and rigid… if that’s the effect you’re after.

Mmm, chunky.

G major movable chord shape

G major movable chord shape

C major movable chord shape

C major movable chord shape

G major movable chord shape

G major movable chord shape

D major movable chord shape

D major movable chord shape

B flat major (Bb) movable chord shape

B flat major (Bb) movable chord shape

Ideas for this chord progression:

  • As these chord shapes are movable, you can experiment with them all over the fretboard in their fixed forms to create different sequences.
  • If you’re in the G position, try using open G major for a fuller sounding tonic, or to big it up as an ending chord. Also try leaving the top 2 strings (B and e) open in certain positions to see how they add to this chord shape.
  • Keeping G major as the tonic chord, try swapping the D major and Bb major chords around for a different effect.
  • Change the D major to a minor form (see the A shape barre chords lesson if you don’t know this form).

So, have an experiment with using simple major chord forms up and down the fretboard. It won’t be everyone’s cup of tea, but personally I love the disjointed feel of it all.

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