# A chord by another name...



## BSTheTech (Sep 30, 2015)

It seems every time I switch to a new instructor I spend the first couple months undoing what the last guy taught me. This time its the C chord. 

We all know its played;








But the last guy got me playing it;









I like it that way but we can see its actually a C/G. The new guy wants me to play it the normal way. 
I like the fuller sound. What say you guys? What if I keep playing it that way? Will other musicians shun, bully, and ostricize me? Will I go blind? Will I rot in hell? Enquiring minds want to know.


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## LexxM3 (Oct 12, 2009)

You have a) precision in communication and learning, and b) creativity and “pizzaz”. Both are necessary. When you intend to play an open C chord in the conventional sense, play the open C chord in the conventional sense. When you intend to play open C/G, play open C/G. The decision what chord or inversion you play is yours. The decision what to call them is not.


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## mawmow (Nov 14, 2017)

That is : You can use altered chords to spice your music, but you have to name chords correctly.


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## JBFairthorne (Oct 11, 2014)

Use whichever you prefer unless the piece of music specifically calls for one or the other. The important thing is...you realize they are DIFFERENT chords. The C/G is actually a 2nd inversion (the 5th is the first note played) of the C chord.


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## BSTheTech (Sep 30, 2015)

JBFairthorne said:


> Use whichever you prefer unless the piece of music specifically calls for one or the other. The important thing is...you realize they are DIFFERENT chords. The C/G is actually a 2nd inversion (the 5th is the first note played) of the C chord.


Well, I know they are different now. I just thought it it was an alternate shape until I used an online chord finder.


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## JBFairthorne (Oct 11, 2014)

FYI...if you played the open E first (a C/E) it would be a 1st inversion (the 3rd being the first note played).


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## Kerry Brown (Mar 31, 2014)

It is important to know how chords sound with different inversions and useful to know the names and theory behind them, especially if you’re learning a new song or writing a song. That said, when I’m actually playing I rarely think about this stuff.


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## Greg Ellis (Oct 1, 2007)

It's not entirely clear what you are asking. C/G is not the same thing as a straight up C, but it could certainly take the place of a straight up C in almost any imaginable situation. If you like the way it sounds, then why not?

I think many of us tend to substitute our favourite 'flavours' of chords fairly frequently, just based on preference and experience.

My favourite C chord is technically a Cadd2 (or a Cadd9, depending on you'd like to look at it), played as x32030 or x32033.

I use that chord a lot, even when the song asks for a straight up C major chord.

Am I "doing it wrong"?

I don't think so. I like the way it sounds and it's easy to send my fingers into that position after 30-something years of doing it.


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## Hammerhands (Dec 19, 2016)

I was taught the C/G at the same time I was taught the regular C. I’ve never had anyone tell me not to use C/G. It is very much a C chord to my ears.

I can imagine that if you were going to be moving the bass around, C, B, Bb, that you would want to have the C root.

It may seem like an odd request, but he may have a reason for teaching that way, something mapped out for a future lesson.


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## Hammerhands (Dec 19, 2016)

How long have you been playing?

How many teachers have you had?

Why did you stop going to previous teachers?

What have you been taught?

How long have you been going to this new guy?

What is the current guy teaching you?


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## sambonee (Dec 20, 2007)

Forge on guitar colleague. The light will be there


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## BSTheTech (Sep 30, 2015)

How long have you been playing?
Off and on for 26 years. (Mostly off)

How many teachers have you had?
Three over the last 5 years

Why did you stop going to previous teachers?
I have a buggered ring finger that's taken better part of three years to heal. Then the second teacher died of an overdose a couple months back.

What have you been taught?
Mostly beginner stuff, but I've asked for more theory. I like to know how things work. I started the Major Scale last week. Hopefully finally getting into some weedly weedly.

How long have you been going to this new guy?
About a month.

What is the current guy teaching you?
It's a group lesson through work. So he's catering to about 6 of us (all different levels). But mainly teaching us songs and then the theory behind them. Working in new strumming patterns and how keys work etc. My finger isn't quite 100% so I'll give it until the Fall before going back to private lessons (Hopefully).


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## BSTheTech (Sep 30, 2015)

sambonee said:


> Forge on guitar colleague. The light will be there


Thanks Brother.


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## BSTheTech (Sep 30, 2015)

Greg Ellis said:


> It's not entirely clear what you are asking. C/G is not the same thing as a straight up C, but it could certainly take the place of a straight up C in almost any imaginable situation. If you like the way it sounds, then why not?
> 
> I think many of us tend to substitute our favourite 'flavours' of chords fairly frequently, just based on preference and experience.
> 
> ...


I like the Cadd9 too! Especially with the G.


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## sambonee (Dec 20, 2007)

Some may disagree. I like Yousician. Best value for the buck. And the family plan gets 4 instruments.


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## cboutilier (Jan 12, 2016)

I almost never play the C/G, but often use my ring finger to alternate a bass line between the C and G notes. For C chords I use a few variations, depending on convenience and feel really.

X32010 (std open C)
X32033
Xx201x
Xx555x
X7555x (very often)
X35553 (A shape Bar)
X3555x
8 10 10 9 8 8 (E shape bar)
8 x 10 9 8 8 (thumb over version of above)
X x 10 9 8 8 (F shape)
X x x 12 13 12 ( D shape triad)
X323010 C7

Play with them all and have fun.


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## butterknucket (Feb 5, 2006)

How about C/E and open another can of worms.


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## butterknucket (Feb 5, 2006)

But to be more serious, learning slash chords is very important when you're playing piano centric songs with a band, or even just a piano player.


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## BSTheTech (Sep 30, 2015)

> Some may disagree. I like Yousician. Best value for the buck. And the family plan gets 4 instruments



I did the original version called “Guitarbots”. Was a lot of fun. I’m also doing the Fender Play lessons. But so far they’re too easy. I should skip ahead but don’t want to miss anything.


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## JazzyT (Nov 1, 2017)

There are more ways to play C than there are to skin a cat. The second way you mentioned (332010) is handy when you are playing fingerstyle with an alternating bass, for example. Of course, you may want to get yer ringer finger jumping tween the A and E strings, or it may sound right to just grab the whole chord and hold it. 

As a jazz guy, I don't use either grip that often in a jazz setting, but I like C(add 2):

xx5530
xx2533
xx5758
xx.14.12.13.10


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## PHJim (May 23, 2012)

If you are a finger picker, using the alternating thumb or a flat picker using the first position church lick (bass strum, bass strum) then I'd recommend rocking your ring finger between X32010 and 3X2010, leaving your pinky free to grab melody notes.
If you are strumming full chords, very few people would be able to distinguish between C and C/G in a blindfold test.

I have never thought of C/G as a second inversion chord. Due to the nature of the guitar, most chords are what I'd call "gapped chords".
CMa in root position contains C, E and G notes in that order. The first position CMa chord contains E, G and C in that order. The second inversion contains G, C and E notes in that order. 

This is just my understanding of the terminology. Since I am mostly self-taught* I may need some correcting.

*Well, not really self-taught, but I learned from records, live performances, jamming and other musicians showing me things as well as reading books in the library. What I meant was I didn't have a guitar teacher.


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## JazzyT (Nov 1, 2017)

Root position, first inversion, second inversion etc... are determined _entirely_ by the lowest note in the chord. For example, these are both C major chords in 1st inversion:

xx201x
xx2x13

Now, other terms that may be helpful are closed and open voicings. In a closed voicing, there are no gaps where a chord tone could be, in an open voicing there are. (xx201x is a closed voicing, xx2x13 is an open voicing).

Beyond that, "drop" voicings are good to know:

CMaj7 in a drop-2 voicing: xx2413
CMaj7 in a drop-3 voicing: x7x587


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## PHJim (May 23, 2012)

Thanks JazzyT. I'm not sure I understand "drop" voicings. Are these both CMa7/E or first inversion CMa7 chords?
drop-2 E B C G 
drop-3 E C G B

Have you studied from John Mehegan's books? I'm sure I've read some of these terms there.


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## BSTheTech (Sep 30, 2015)

Ok. I’m going to have to sit down and figure these out. Thanks.


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## JazzyT (Nov 1, 2017)

PHJim said:


> Thanks JazzyT. I'm not sure I understand "drop" voicings. Are these both CMa7/E or first inversion CMa7 chords?
> drop-2 E B C G
> drop-3 E C G B
> 
> Have you studied from John Mehegan's books? I'm sure I've read some of these terms there.


(Yes, those are both first inversions of CMaj7 . I wanted to point out that "first inversion" only determines the bass note, not the complete voicing.)

Hey PHJim!

I'm not familiar with John Mehegan's books, but the notion of "drop" voicings comes from piano and is widely used there. I had learned "jazz chords" here and there and being able to organize them made it easier to see what was going on. 

Here is the idea, in three steps. You can do this with any seventh chord (major/minor/dominant...), and I pick G7 = G B D F.

1. Start a closed voicing, starting on any chord tone. Again, closed means no skipped chord tones:

G B D F
B D F G
D F G B
F G B D

Those are easier to play on piano than guitar, so...

2. For drop-2 voicings, take the second note from the top and lower it an octave:

G B *D *F --> *D *G B F
B D *F *G --> *F *B D G
D F *G *B --> *G *D F B
F G *B *D --> *B *F G D

3. Find that chord on the guitar neck:

G B *D *F --> *D *G B F xx0001
B D *F *G --> *F *B D G xx3433
D F *G *B --> *G *D F B xx5767
F G *B *D --> *B *F G D xx9.10.8.10

Drop-3 voicings are done by dropping the 3rd note from the top an octave, and the final common form, Drop-2,4 are ... well, you can guess.

G *B *D F --> *B *G D F x2x031
B *D *F G --> *D *B F G x5x463
D *F *G B --> *F *D G B x8x787
F *G *B D --> *G *F B D 10x10.12.10

*G *B *D *F --> *G D *B F 35x46x
*B *D *F *G --> *B F *D G x23x33
*D *F *G *B --> *D G *F B x55x67
*F *G *B *D --> *F B *G D x89x8.10


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## PHJim (May 23, 2012)

Thanks for that JazzyT. 
I learned what I know about jazz chords from John Mehegan's *Tonal And Rhythmic Principles* and Mickey Baker's first *Jazz Guitar* book. Mehagan's book was written for piano players, but had a lot of info that was applicable to other instruments. He used changes to many standards like Round Midnight and I Can't Get Started. . . He used figured bass system of chording ( I've never seen one just like his anywhere else) and used modes to base his improvisation on. Baker's was guitar centred and based on chord progressions and licks. 
Very different books, but I found them both very useful. I first got them in the early sixties and still have them and occasionally get them out.


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## Hammerhands (Dec 19, 2016)

You often see /Root used when the bass is moving, a clue to the voicing, or where a chord with a simple name can be used instead of Rumpelstiltskin.


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## Dorian2 (Jun 9, 2015)

Nice quick rundown of the Drop chords @JazzyT . You guys who are going at them should realize there can tend to be some fairly intense voicing finger wise with those puppies. I totally forgot how Drop 2 worked as it's been so long since I took that, but the quick rundown you gave brought it all back.

Thanks.

Oh yeah, these chords, if it hasn't been discussed yet, are really great when you have either moving Bass lines like @Hammerhands mentioned, or when you have a Melody line and wish to include the voicing underneath the top (Melody) notes. That's one of the key features of using either Triad inversions or Drop type chords for me....but I'm a Rock guy so I use them very sparingly....if at all now. Except the triads.


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## JazzyT (Nov 1, 2017)

Dorian2 said:


> Nice quick rundown of the Drop chords @JazzyT . You guys who are going at them should realize there can tend to be some fairly intense voicing finger wise with those puppies. I totally forgot how Drop 2 worked as it's been so long since I took that, but the quick rundown you gave brought it all back.
> 
> Thanks.
> 
> Oh yeah, these chords, if it hasn't been discussed yet, are really great when you have either moving Bass lines like @Hammerhands mentioned, or when you have a Melody line and wish to include the voicing underneath the top (Melody) notes. That's one of the key features of using either Triad inversions or Drop type chords for me....but I'm a Rock guy so I use them very sparingly....if at all now. Except the triads.


+1. I only worry about my bass line if I'm playing solo chord melody stuff. Notice that with the three drop voicing groups you get 12 voicings in total, or every possible combination of a top chord note and different bottom note. 

As for crazy fingerings, that's jazz! Two of my favourite moves are:

CMaj7#11: x35452 (reach around! play that top F# by reaching around the back of the neck and fretting it with your thumb)
Dm11b5: x56563 (barre the 5th fret but lift up the bottom of that (middle) finger so that top G is not muffed)
I've been trying to do "slant barres" but they don't work for me. Then there's playing two strings at once with a fingertip...


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## cboutilier (Jan 12, 2016)

JazzyT said:


> +1. I only worry about my bass line if I'm playing solo chord melody stuff. Notice that with the three drop voicing groups you get 12 voicings in total, or every possible combination of a top chord note and different bottom note.
> 
> As for crazy fingerings, that's jazz! Two of my favourite moves are:
> 
> ...


I sometimes use my B and G benders to make up chord voicings that I wouldn't otherwise be able to finger.


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## JazzyT (Nov 1, 2017)

cboutilier said:


> I sometimes use my B and G benders to make up chord voicings that I wouldn't otherwise be able to finger.


That's a cool tool to have in your arsenal.


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## cboutilier (Jan 12, 2016)

JazzyT said:


> That's a cool tool to have in your arsenal.


I use it for pseudo pedal steel licks. Bending, or releasing bent notes while still fretting full chords.


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