Chord Changes

It's all about practice now... No secrets here, practice switching between every combination of them, both ways, that is C -> D and D -> C until your fingers bleed!

I also recommend starting some simple strumming songs that incorporate the chords you've learned. Seeing that result makes the practicing a lot easier.

I have a little routine that helps me. If I'm having trouble with a particular chord, say F, I'll run through the "alphabet" inserting the troublesome chord between each chord, in the sequence, so F, A, F, B7 (easier than B and we're not making music, here), F, C, F, D, F, E, F, G, F, A.............

You can play whatever strumming pattern you like. I tend to play one chord until I have the next one pictured in my mind and I'm ready to move my fingers to the new chord.

To be fair, it's really only useful for open chords.

Jadda

There is a whole bunch of stuff on here regarding this very topic.

Suggest putting "chord changes" into the search. Also worth putting in "plonk" as i remember a thread where a lot of discussion was going on where i explained how a tip to "plonk" your fingers down really, really helped me with this. I would say it improved my playing immesureably actually.

Check it out.

Matt

Try the exercises toward the end of this lesson:

Chords 101.

Making smooth chord changes requires a bunch of coordinated motions, and not just with the fingertips. There are a few principles that I've found helpful in teaching...

1. If a string/fret combination is common to both chords of the change, keep it held down! For example, if you're changing from open C to open Am, the first and second fingers should not move - many people lift their entire hand, when all you have to do is move one finger.

2. Pay attention to which way your hand is rotating. Picture your hand held straight out in front of you... for an open B7 chord your hand will rotate clockwise, while for an F chord, your hand will rotate counter-clockwise (for a right handed guitarist fretting with the left hand). When you make the chord change, you want your wrist rotation to naturally find the right place, not going too far (or not far enough).

3. Work from the finger traveling the longest distance. If you're going from G major to B7, the first finger is being placed - it's not used in the G chord - the second stays put, the third moves three strings, and the fourth stays on the first string, but moves a fret. The finger moving the farthest should be done 'in time' with the wrist rotation... that's kind of hard to explain, but if you move your hand slowly from one position to the other, hopefully you'll see what I mean.

4. If a finger stays on the same string (like the fourth finger in the G/B7 change), don't lift it completely off the string. You need to release enough pressure so you're not sliding from one note to the next, but if you clear the string completely, you're wasting motion.

5. For complex changes, build slowly. Start with just one finger and one motion if you have to. Example: going from E to B7, your second finger is going to stay right where it is (rule 1 above), you're turning your hand clockwise (rule 2). Try lifting fingers 1 and 3 while you turn your hand to move the third finger over the third string, pivoting on your held 2nd finger. Maybe you practice just that to start - getting your hand in the new position with the B note held. Then add the third finger in time, since it's moving farthest (rule 3). Now you've got this switch:

-0-x-
-0-0-
-1-2-
-2-x-
-2-2-
-0-x-

(the x's here don't mean muted strings, just strings you're not using yet)

After that's smooth, add the first finger, and then finally the fourth.

When you get into really complicated changes at good speed, the wrist rotation becomes incredibly important in making the changes smooth, and I often let it dictate what voicings I'll use for a passage. Wrist movement is so fundamental to developing good technique - I usually get students thinking about it within the first month. Strangely enough, a number of people have told me that other teachers don't even mention it... so I'm either on to something in what I do, or I'm totally misguided - give it a try and decide for yourself :)

Oh yeah... one more thing related to rule 1, especially if you're doing classical guitar or fingerpicking: sometimes a change will work out best if you use a really awkward fingering for one of the chords. That allows you a lot more control over how long the individual notes sound. An example from a Bach cantata:

-x-------
-x---0-1-
-0-2-----
-2-------
-3-------
-x-------
I'll hit the A note with my index finger, even though the middle finger seems a lot more natural... that lets me hold the fourth string E into the next note. After your changes get smooth, you should let the music dictate what you do, and adjust your fingering to do the music justice.

Noteboat has made excelent points here, and he knows that about which he speaks (wow was that a convoluted way of saying that). Listen to him.

I never really gave much outright thought to the rotation of the wrist factor you mentioned Noteboat. As I reflect upon it though it makes a great deal of sense to work on it. As rotation of the wrist seems to involve larger (read dumber, muscles) it may well be an unrecognized sticking point in the progress for many, without their realizing it. Yet another thing to try and jam into my overwrought brain.

I may be wrong here, so correct me if I am, but in point number one I would also add that if the fingers don't move try and keep enough pressure on them to fret that note correctly. If the string is still ringing, or there is an upstoke involved failure to keep the proper pressure on the string may result in buzzing from that string. That buzz from a fretted string is capable of drinving a person crazy.

Jada918, I know this is slightly of topic, but if you decide to give some theory a read, Noteboat has published a book entitled "Music Theory For Guitarists". Even if you aren't that interested in theory it's a good read for increasing your understanding of the insturment. I think his site is http://www.Noteboat.com .

thanks for all the detailed advice, and i will mos def check out the theory book. Thanx