Hey Friend,
The last chord I've been playing with so far is a G#m chord. Played at the fourth fret, you barre the first three strings with your index finger and add a G# note at the sixth fret fourth string (get the exercise files if you don't have them). Now compared to the "add" chords, this doesn't look so bad, does it? The barring could give you a challenge, but at least the name isn't so intimidating.
This chord absolutely fits within the context of the key of E major. It lines up as the third chord in the key.
Here's the scale from the key:
E, F#, G#, A, B, C#, D#, E
That gives us our G#m chord as the iii. Using the key of G# minor to get the notes for the chord, we have:
G#, A#, B, C#, D#, E, F#, G# <=> 1, 2, 3, 4, 5, 6, 7, 8
I know we haven't covered minor keys yet, but trust me, this is the scale. Notice how we use the 1, 3 and 5 notes of the minor scale, just like we did with the major scale. The same principle applies for chord construction with minor keys and chords.
The G#m chord notes:
Notes: G# B D# G# Strings: 4 3 2 1
What I like about this chord is it leaves us hanging in a spot where we want to get to a more resolved sound. It's leading us to a major chord sound - something that sounds complete.
What's Next?
Using a minor chord like this moves the song into the next section. The question is, what comes next?
I don't quite know yet, but since the song is in E major, I have a bunch of options. As you've seen, I'm not tied into using just major and minor chords. I could use some form of a B major chord, or I could go with an F#m or C#m.
The section we have already feels like an intro/chorus section to me, so I could write verses hanging on an E major chord, or I could try an A major chord. The point is, the possibilities are wide open. This is when you sit down with your guitar and start working through the options. Maybe instead of a minor chord, you try a minor 7.
As I strummed through and got a feel for where to go next, I came across a possibility I don't normally consider - you're going to hate me for this - using the diminished chord (D#dim) from the progression. I'd only use it once, probably in a bridge section, but what a perfect way to create some real tension!
Of course, I'm not content taking as the straight diminished chord, so if I leave the first string open, it turns the chord into something completely different - an F#m7(no5)/D# (F sharp minor 7 with no 5 note rooted on a D#). Ha! How's THAT for scary?!
Don't get intimidated by chord names. You don't have to know what the chord is called as long as you can remember where it is. If you want to chart it, write out the chart on a piece of paper so you don't forget the chord. You can even figure out which notes are being used. Here are some blank chord charts.
Fortunately, you don't have to be as demented as I am. You do you. I happen to like hunting the fingerboard for whack sounds and combinations.
Alright, have yourself a lovely, Rock-filled afternoon.
Peace~
Dave
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