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DADGAD Chord Primer 2.2
DADGAD Chord Primer 2.2
HowtoBuildChordsin
DADGADTuning
Version2.2
By:MarkParnis
www.markparnis.com
mark@markparnis.com
MarkParnisDADGADChordPrimer2013
DADGADisessentiallyavariantonopenDtuning,DADF#AD.Thesubtlebut
profounddifferencebetweenthetwoliesinthefactthatDADGADlacksathird
fromtheDchord,whereasDADF#ADhasanF#,whichimmediatelyreinforcesthe
keyofDmajor.DADGADlackseitheranF#orF,thepresenceofwhichwould
reinforceDmajororDminorrespectively.Asaresult,DADGADisanidealtuning
foraccompanyinginstrumentaltunesthatmovebetweenDmajorandDminor,
orthatareinothermodessuchasDMixolydian(F#,Cnatural)orDDorian(all
naturals)asfoundinsomeCelticfiddletunes.DADGADishighlyfavouredfor
guitaraccompanimentinCelticstylemusicforthisreason.Inparticular,chord
scalesinvolvingchordmovementwithascendingordescendingsequencesof
scaletonesareveryusefulforfillinginlongerstretchesofsinglechordswitha
dynamicsoundingalternativetorelieveharmonicboredom.
DADGADisalsoaversatiletuningforbothfingerstyleandrhythmchordbased
accompaniment.MypreferredstrategyforchordconstructionwithDADGADis
similartotheapproachItakewithotheropentunings.Thisistousethetreble
stringsasdroneorsustainednoteswhilemovingbetweenchordstogluethe
soundtogether.ThetoptwotreblestringsinDADGADplaythetonicand
dominanttonesoftheDscalewhicharecommontoDmajor,DMixolydian,D
DorianandDnaturalminorkeys.Theirrepeatedsoundinggivesasenseof
groundednesstothesongwhichisnotunlikethedronenotesofthebagpipes.
Aswell,theircolourchangesasthechordchanges,sothatmoreinteresting
soundingchordsemerge,oftenbychance.
ItisusefultobeginthinkingaboutDADGADforsongsinsomesortofDkey,even
thoughDADGADisalsonearlyassimpletouseinothercloselyrelatedkeyssuch
asAorG.Tobegin,letmeintroducemybasicstrategyforbuildingchordsin
DADGAD.Theideabehindmyapproachistoretainasmanyopenstringsinthe
uppertonesofthechordaspossible,tohelpgluethechordstogether.
MarkParnisDADGADChordPrimer2013
Heresthebasicapproachforanychordyoulike:
1)Determinewhethertheroottoneofthechordliesonthe6thor5thstringinthe
areaofthefretboardinwhichyouwanttoplaythechord.Iftherootisonthe
6thstring,choosethatnoteandthenoteonthefourthstringatthesamefret.
Excludetheopen5thstingifitsnotthefifthofthechordbydampingit,orfretit
ataconvenientplaceinthechordtomakeanotherrootorfifth.
Iftherootisonthe5thstring,choosethatnote,andleavethe6thstringoutsince
anynotelowerthantheintendedroottonewillgenerallysoundliketheactual
root.Turnthe4thstingintoeithertheroot,thirdorfifthtoneofthechordif
convenient,orleaveitout.
2)Fromtheremainingthreeorfourstings,leaveopenanyofthestringsthatis
anacceptabletoneforthechordinquestion.Foranytypicalchord,itwillforsure
betheroot,third,orfifth.Othertonesthatmightbenicesoundingarethesixth
(major),seventh(minorordominant),ninth(major,minor,ordominant)and
eleventh(minorordominant).Letyourearbetheguide.Ifitsoundsgoodinthe
song,itisgood.Fretanystringsthathaveunacceptableopentones,ata
convenientfretthatproducesanacceptablechordtone,usuallyaroot,thirdor
fifth.
Thatsit!
MarkParnisDADGADChordPrimer2013
LetsgivethisatrywithastandardDmajorchord:
1)TherootofaDchordisthenoteD,anditliesontheopen6thstring.Choose
theopen6thstringandtheopen4thstring.Theopen5thstringisactuallyanA
note,whichisthefifthofaDchord,andcanbeincluded.
2)TheremainingthreestringsareG,AandD.AandDarechordtones(fifthand
root)andsothe1stand2ndstringsmaybeplayedopen.Onlythe3rdstring
containsan11thwhichsoundsbadinamajorchord.Thesimplestsolutionisto
frettheGstringatthesecondfrettomakeanA,andnowallyourstringsare
playinganicecleanDchord:DADAAD
000200
Dpowerchord
Infact,thischordcontainsneitherthemajornorminorthirdofD,i.e.thereisno
F#orF,itisequallyusefulforDmajor,minor,mixo,oranyDchordwithaperfect
fifth.IliketothinkofthisasaDpowerchord.
MarkParnisDADGADChordPrimer2013
IfyouwantatrueblueDchord,majorthird(F#)andall,youcanfretthe4thstring
atthe4thfrettogetanF#,andobtainmysecondchoiceDmajorchord:
004 200
Dmajor
MarkParnisDADGADChordPrimer2013
HowaboutastandardGmajorchord:
1)TherootofaGchordisthenoteG,anditliesonthe6thstringatthefifthfret.
Fretthe6thand4thstringsatthefifthfret,orleavethe4thopentogetthefifth
toneD.Theopen5thstringisanAnote,whichisnotthefifthofG(i.e.notaD)so
wewilldampitoutwithourfingersandnotsoundit.
2)TheremainingthreestringsareagainG,AandD.GandDarechordtones
(rootandfifth)andsothe1stand3rdstringsmaybeplayedopen.Onlythe2nd
stringisaquestionabletone.The2ndstringtoneisaninth(A)andoftensounds
ok.So,ifweleaveit,wehavetwopossibleGchords:GXDGADandGXGGAD
5X00 00
5 X 5 0 00
Gmajor9
MarkParnisDADGADChordPrimer2013
TheAandGsoundingtogetherisabittouchy,andaswellwehavenothird,
whichmayormaynotbeanissueforyou.AcleanerandclearerGchordhasthe
thirdtone(B)onthe3rdstring,toacleanGchord,whichwewillseeisa
moveablechordform:
5 X 5 4 00
MoveableGmajor
TheGchordcanactuallybeplayedabitdifferently,sincetheopen4thstringisthe
fifthofG,i.e.D,andthereforewouldhavealsobeenanacceptablechordtonein
thebass.Sowecouldalsoplaythischord,whichusesallsixstrings,includingaD
onthe5thstringatthe5thfret,togetmyfavoriteGchord:
5 5 0 4 00
Gmajor
MarkParnisDADGADChordPrimer2013
Hereisanotheronefingerwonderchord,liketheDpowerchord,greatfor
reallyrapidchordchangesinfiddletunes.Iusethischordalot,especiallywhen
basstonesmovethroughaBtoneonaGchord.
X 2 0 0 00
G/B
Wecanalsousetheopen6thstringasaDbasstone,andgetareallysimpleuseful
Gtypechord,whichisreallyG/D,sincethebassstressesD.Thisoneisalsogreat
forrapidchangeswheresubtletyisabandonedforspeed:
0 2 0 0 00
G/D
MarkParnisDADGADChordPrimer2013
ThethreemainchordsinthekeyofDmajorareD,GandAmajor,soletslookat
Amajornext:
1)TheroottoneAliesontheopen5thstring.Choosetheopen5thstringand
dampenthe6thstring(Disthe4thofAandnotagoodbasstone).
2)TheremainingtonesareDGAD.Disthe11thofAandsoundsokiftheAis
actingasadominantchord,whichisthefunctionofanAchordinthekeyofD
(thedominantchord).GisthedominantseventhofAandcouldbeleftaswell,so
thatoursimplestchordwouldbejusttoplayallthestringsexceptthe6thopen.
However,thisdoesntsoundsogood.The4thstringDstillsoundslikeabassnote
andmuddiesupthechord.BettertomakeitanE,andgetaperfectfifthtonein
thechord:
X 0 2 0 00
Adom11
ThisisthesimplestAchord,andanotheronefingerwonder.Itallowsustouse
asequenceofonefingerchordstoplaytunesinD,namely:
DpowerchordG/BchordAdom11chordDpowerchord
Trythissequencestrumming,tryingtostresstheD,BandAtonesrespectivelyin
thebassofthechords.Voila!Serviceablechordprogressionwithonefinger!
MarkParnisDADGADChordPrimer2013
YoumightwantamorestraightforwardAmajorchord,inwhichcaseyoullwant
togetridoftheGandtheD.LetsstartagainandmakeaverycleanAmajor
chordbybuildingachordonahigherfretroot.Thiswillgiveusanotheruseof
themoveableGchord:
1)UsetheArootonthe6thstringatthe7thfret.Doubleitonthe4thstring.Leave
the5thstringopensinceitsanAaswell.
2)TheremainingtonesareGAD.MaketheC#byfrettingthe4thstringatthe6th
fret.LeavetheAandDopen,togetanAmajor11.Thishasthesameformasthe
moveableGmajorchord.Fretthe1ststringattheseventhfretandgetapureA
chord,butwithahightoneonthetop:
7076 00
5
7 0 7 6 07
5
Amajor11chord
Amajor11
Amajor
10
MarkParnisDADGADChordPrimer2013
Now,youwillofcoursewanttomakeotherchordsthanthesethree,andtheir
variants.LetsmakesomeoftheotherchordscommonlyusedinD.Thefirstis
Em:
1)TheroottoneEisthesecondfretofthe6thstring.Startbuildingbyincluding
the6thand4thstringsfrettedatthesecondfret.Dampoutthe5thstring,sinceit
isanAwhichisnotarootorfifthinthebass.
2)TheremainingtonesareG,AandD.GistheminorthirdofE,soitsreally
neededtogiveaminorsound.Aistheeleventh,andisnotabadtoneforaminor
chord.Youcouldleaveit,orturnitintoaB,thefifthofEminor,byfrettingthe2nd
stringatthe2ndfret.The1ststringisD,theminor7thofEm,sothatsafinetone
foranEm7chord.Letslookatthesechoices.
2X20 00
Emin11
2 X 2 0 2 0
Emin7
11
MarkParnisDADGADChordPrimer2013
ThenextdiatonicchordinDmajor(chordbuiltinthirdsonascaletone)wouldbe
F#m.However,inmostCelticstyleandfolk/popmusic,themorecommonchoice
foranF#basstoneisD/F#,thatis,aDchordwithitsthird,F#,inthebass.Lets
buildthatchord:
1)F#isfoundonthe6thstringatthe4thfret.Doubleitonthe4thstringatthe4th
fret.The5thstringopengivesanA,whichisthefifthofDmajor,sowecanleave
thattoo.
2)TheremainingtonesareG,A,andD.AandDarefromtheDchord,sotheyare
goodasis.GisthefourthofDmajor,andisnotacceptable.So,letsraiseitto
anotherAbyfrettingatthesecondfret.
404200
D/F#
12
MarkParnisDADGADChordPrimer2013
CarryingonuptheDmajorscale,wehaveourD,EM,D/F#,G,andAchords.
RemainingareBmandC#dim.UsuallyBmisnotused,butinsteadG/Bisusedfor
acleanersound.C#dimisrarelyused,butmorelikelytobeA7/C#.Letshavea
lookatG/B:
1)TheBtoneisfoundonthe5thstring,2ndfret.Theopen6thstringisaD,which
isthefifthofGmajor,sowecanleavethatopen,aswellastheopen4thstring.
However,betternottoplaytheverylowestDonthe6thstring,asitwillmakethe
chordsoundlikeG/D
2)TheremainingtonesareG,AandD.theGistherootofGmajor,andDisthe
fifth,sobothcanbeleftopen.Aistheninth,andabitunusualalthoughnot
unusable.MorelikelyitwouldbeturnedintothethirdofGmajor,Bbyfretting
thisstringatthe2ndfret:
X20020
G/B
13
MarkParnisDADGADChordPrimer2013
NowandthenwewillactuallyneedBmininsteadofG/B.Togetthisweneedthe
F#tonetoreinforcetheBminorchordandalsoreducethenumberofGtonesin
thechord.Thisiseasilydonebyfrettingthe4thstringatthe4thfrettogetF#.We
alsocaneliminatethe3rdstringGbymakingitaBatthe4thfret.Theopen2nd
stringgivesusaniceminorseventhofBtomakeaBm7soundtoget:
X24400
Bmin7
Forspeed,youcanleavethe4thstringopen(and6th)tohaveasimplerBm7,albeit
withmoreDsoundinthebass,likeaBm7/D:
020400
Bmin7/D
14
MarkParnisDADGADChordPrimer2013
ThelastDmajorchord,A7/C#:
1)C#isthe4thtoneofthe5thstring.Theopen6thand4ththeeleventhofA,sono
goodforthebass.Leavethe6thstringout,andmakethe4thintoanE.
2)Fortheremainingthreetones,GisthedominantseventhofA,andisokasa
toneonadominantchord.TheAisofcoursefine.TheDisinterestingsinceitisa
asuspendedthird.Thiswouldnotbeacceptableexceptforadominanttype
chord,whichA7happenstobeinthekeyofD.Inthatcase,itcansoundrather
interestingandpleasant:
X42000
A7sus4/C#
15
MarkParnisDADGADChordPrimer2013
PlayinginotherkeysorothermodesthanDmajorrequiresotherchords,and
therearecertainlylotsofthem!Forexample,DminorgenerallyrequiresG
minor,andDMixolydianneedsaCmajortoreinforcetheflatseventh.Ingeneral,
chordsbuiltonthetonesoftheDminorpentatonicscale,i.e.,D,F,G,AandCare
goingtocropupinanymusicinDthathasabluesyfeel,sincethesetones
reinforcetheDbluesscale:DFGAbACD.
HeresaselectionoftheseotherchordsusedinDmodes:
Cmajor:
1)Therootisonthe5thstringatthe3rdfret.Leavethe6thstringout,andbring
the4thuptoanEatthe2dnfretorGatthe5th.TheGisbetter,sincethisisa
borderlinebasstoneandthefifthisalwayscleanerthanthethird.
2)RemainingtonesG,AandDareallgoodtonesinCmajor,asthefifth,sixthand
ninth.Thefifthandsixthrightnexttoeachotherisperhapsabitjarring,sowhy
notmakethataCatthethirdfretaswell.Oursimplestchordis:
X32020
Cmajor9
16
MarkParnisDADGADChordPrimer2013
Aminor:
1)Theopen5thstringhastheroot,sothatseasy.Leaveoutthe6thstring,and
makethe4thstringthefifthofA(anE)atthesecondfret.
2)OftheremainingG,AandDtones,Gistheminorseventh,andisaverynice
tone,butcouldalsobeanAatthesecondfret.Aistheroot,soitsgoodtoo,but
couldbeaCatthethirdfret.TheDisokasaneleventhinaminorchord,but
mightbecleanerasanEatthesecondfret,givingseveralchoices.Allthechords
withoutaChavenothirdandiftheyhaveaDtheysoundlikesus4chords,
neithermajor,minornordominant:
X0200 0
X02030
Asus4
Amin11
X 0 2002
Asus4
X02200
Asus4
17
MarkParnisDADGADChordPrimer2013
Fmajor:
1)Therootisonthe6thstringatthe3rdfret.Theopen5thstringisanA,which
wouldbeokinanFchord,buttoolowinthechordtonalitytoreallysoundgood.
So,dampitinstead.Thereisnootherusefultoneonthe4thstringexcepttheF
octave,sodoubletheFinthebassonthe4thstringatthe3rdfret.
2)FromtheremainingtonesG,AandD:GistheninthofF,socouldsoundok,
butitwouldbecleanerifweturnitintoanAatthesecondfret,whichreinforces
themajorsoundofthechord.The2ndstringmaybeleftopenasAalso.TheDon
the1ststringisokasamajorsixth,whichisacommonadditiontoamajorchord.
ThisgivesusaformthatisalsothesameasthemoveableGmajorchordform:
3X3200
Fmajor6
18