The following chart shows five common positions for the 7th chord, the root is noted with a diamond (note: the numbers 1-5 across the top are there to identify these forms for our purposes, they aren’t the proper names).
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The list of chords, their positions and inversions is pretty exhaustive and seemingly endless. Instead of writing a huge chart for you to try and memorize, we’re going to save a little time and space
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Make sure you’re comfortable playing the previous patterns before continuing. Good, now it’s starting to get interesting. This next pattern is a variation on the first; you’ll notice there are a couple extra notes. We’ll continue to call the patterns E & A for now. Follow the procedure you used in part one to learn these.
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This first pattern is demonstrated on the E major and A major chords, but as you’ll see it can be used over any chord combinations.
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When you first look at a piece of tablature, especially for fingerstyle, at first glance it looks like an impossible number of random notes that you somehow have to figure out a way to memorize.
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Fingerpicking is not easy, it takes time and work to establish a solid technique. With that said, it’s also not as mystifying as it might first appear
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You will quickly come to find the most important foundation is a solid rhythm. The focus of these first lessons is traditional roots style music, and if you break it down two distinct profiles begin to emerge, Travis style and Alternating Bass. Both are equally valid and invaluable in the proper situation.
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