Today, as with a lot of progressions I’ve shown you, I’m using a mixture of movable chord shapes (no open strings) and open “floated” chord shapes (with open strings). The idea is to use the tones that are available simply from the tuning of the guitar.
For example, in the first chord, I chose to leave the D string open, because it added a bassy 9th tone to the chord which gave it more depth. All I did was un-barre my index finger and remove my 4th finger from what would have been a standard barre chord shape…
The second chord, an inversion of the tonic C major chord, uses a bass note one semitone down from the following Fmaj7 chord, so it provides that leading movement to carry the progression up to that stable IV chord.
That safe IV chord is then shattered into minor misery using a more tragic minor/major 7th chord (a minor chord with an added major 7th – the major 7th provided conveniently by the open high E string). This is a common transformation of the IV chord, as the resolution back to the tonic I chord becomes all the more satisfying.
So I suppose a good point to come out of today’s progression is to experiment with turning major into minor and vice-versa. You can extract completely different emotions from your music by doing so.
Don’t let the listener get too comfortable!