Chords for Funk Guitar Lesson #2 Funky Chord Voicings - Carl Burnett
Tempo:
129 bpm
Chords used:
E
Am
F
A
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Okay, so the next thing I want to look at just quickly, because I'll probably be doing a lot more of this later when I'm doing the performance example.
So I want to just touch on it very quickly.
Is the smaller voicings getting away from doing the full [Am] bar chords that we all know.
And just focusing on the top three strings and what notes, what we'll say, which we'll mostly refer to as triads.
And upper structure triads as they relate to the root or what the bass player is doing.
And so you'll have this [F] shape, [G] [F]
which is going to work [Dm] over your D minor [F]
[Em] or an E.
[A]
[F] And that's just the F major triad.
So [G] we're going to get those triad voicings together.
[A] And if we put the third on bottom, if we're in the key of A.
[G] [A]
So that's your other shape.
[Am] And we'll also [F#m] look at your minor shapes.
[Em] So there we have like E minor voicing.
[E]
[A] [Em]
And the other [Am] thing which I also think is great, particularly with playing funk grooves per se,
is when you can have some upper voicings that have seconds in them.
That means two notes that are right next to each other.
Like in the key of A minor, we start with the C on the bottom.
And then on top we're going to [Gm] put the seventh and the root.
And you have these [Am] seconds on the top.
Which by themselves, you know, sounds pretty harsh.
But when you put the third on the bottom, it just creates a great sound for a rhythm pattern
that can jump out in the context of playing a groove.
And it sounds like this.
[E] And also another voicing which is also very common is having this
for a sus chord that resolves to the [F#] third.
And here you have the seconds on the bottom.
[E]
And another great funk voicing is with these seconds on the bottom.
So you have the flat seven and the root, and then the fifth on top.
And it sounds like this.
And then also we have this one more minor voicing, which [Bm] is this triad.
Which is also [E] the top part of your E9 [Bm] chord.
[E] And then you take that up a whole [C#m] step.
[E] And then you have the root and the third and the sixth.
And that's a sound we've all heard.
So they work with these simple triads.
And you've heard this.
You know?
So getting these upper structure triads and incorporating those in place of the bar chords
is a great resource to draw from when creating
So I want to just touch on it very quickly.
Is the smaller voicings getting away from doing the full [Am] bar chords that we all know.
And just focusing on the top three strings and what notes, what we'll say, which we'll mostly refer to as triads.
And upper structure triads as they relate to the root or what the bass player is doing.
And so you'll have this [F] shape, [G] [F]
which is going to work [Dm] over your D minor [F]
[Em] or an E.
[A]
[F] And that's just the F major triad.
So [G] we're going to get those triad voicings together.
[A] And if we put the third on bottom, if we're in the key of A.
[G] [A]
So that's your other shape.
[Am] And we'll also [F#m] look at your minor shapes.
[Em] So there we have like E minor voicing.
[E]
[A] [Em]
And the other [Am] thing which I also think is great, particularly with playing funk grooves per se,
is when you can have some upper voicings that have seconds in them.
That means two notes that are right next to each other.
Like in the key of A minor, we start with the C on the bottom.
And then on top we're going to [Gm] put the seventh and the root.
And you have these [Am] seconds on the top.
Which by themselves, you know, sounds pretty harsh.
But when you put the third on the bottom, it just creates a great sound for a rhythm pattern
that can jump out in the context of playing a groove.
And it sounds like this.
[E] And also another voicing which is also very common is having this
for a sus chord that resolves to the [F#] third.
And here you have the seconds on the bottom.
[E]
And another great funk voicing is with these seconds on the bottom.
So you have the flat seven and the root, and then the fifth on top.
And it sounds like this.
And then also we have this one more minor voicing, which [Bm] is this triad.
Which is also [E] the top part of your E9 [Bm] chord.
[E] And then you take that up a whole [C#m] step.
[E] And then you have the root and the third and the sixth.
And that's a sound we've all heard.
So they work with these simple triads.
And you've heard this.
You know?
So getting these upper structure triads and incorporating those in place of the bar chords
is a great resource to draw from when creating
Key:
E
Am
F
A
G
E
Am
F
_ _ _ _ _ _ _ _
_ _ _ Okay, so the next thing I want to look at just quickly, because I'll probably be doing a lot more of this later when _ I'm doing the performance example.
So I want to just touch on it very quickly.
Is the smaller voicings _ getting away from doing the full [Am] bar chords that we all know.
And just focusing on the top three strings and what notes, _ what we'll say, which we'll mostly refer to as triads.
_ And upper structure triads as they relate to the root or what the bass player is doing.
_ And so you'll have this [F] shape, _ _ [G] _ _ [F] _ _
which is going to work [Dm] over your D minor _ _ [F] _ _
_ _ [Em] or an E.
_ [A] _ _ _
[F] And that's just the F major triad. _ _ _
_ So [G] we're going to get those triad voicings together.
[A] _ And if we put the third on bottom, if we're in the key of A.
_ [G] _ _ [A] _ _ _
_ _ _ _ _ _ _
So that's your other shape.
[Am] And we'll also [F#m] look at your minor shapes. _ _ _ _ _ _
[Em] _ _ _ _ _ So there we have like E minor voicing.
_ _ _ _ [E] _ _
[A] _ _ _ [Em] _ _ _ _ _
_ _ And the other [Am] thing which I also think _ is great, particularly with playing _ funk grooves per se,
is when you can have some upper voicings that have _ seconds in them.
That means two notes that are right next to each other.
Like in the key of A minor, _ _ we start with the C on the bottom.
_ _ And then on top we're going to [Gm] put the seventh and the root.
And you have these [Am] seconds on the top. _ _
_ _ Which by themselves, you know, sounds pretty harsh.
But when you put the third on the bottom, it just creates a great sound for a rhythm pattern
that can jump out in the context of playing a groove.
And it sounds like this. _
_ _ _ _ _ _ _ _
_ _ _ [E] And also another voicing which is also very common _ _ is having _ this_ _ _
_ _ _ _ _ _ _
for a sus chord that resolves to the [F#] third.
And here you have the seconds on the bottom.
_ _ [E] _
And another great funk voicing is _ _ with these seconds on the bottom.
So you have the flat seven and the root, and then the fifth on top.
And it sounds like this. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ And then also we have this one more minor voicing, which [Bm] is this triad.
_ Which is also _ [E] the top part of your E9 [Bm] chord.
_ _ [E] And then you take that up a whole [C#m] step.
_ [E] And then you have the root and the third and the sixth.
And that's a sound we've all heard.
So they work with these _ simple triads.
And you've heard this. _ _ _
_ _ _ _ _ You know?
_ _ So getting these upper structure triads and incorporating those in place of the bar chords
is a great resource to draw from when creating
_ _ _ Okay, so the next thing I want to look at just quickly, because I'll probably be doing a lot more of this later when _ I'm doing the performance example.
So I want to just touch on it very quickly.
Is the smaller voicings _ getting away from doing the full [Am] bar chords that we all know.
And just focusing on the top three strings and what notes, _ what we'll say, which we'll mostly refer to as triads.
_ And upper structure triads as they relate to the root or what the bass player is doing.
_ And so you'll have this [F] shape, _ _ [G] _ _ [F] _ _
which is going to work [Dm] over your D minor _ _ [F] _ _
_ _ [Em] or an E.
_ [A] _ _ _
[F] And that's just the F major triad. _ _ _
_ So [G] we're going to get those triad voicings together.
[A] _ And if we put the third on bottom, if we're in the key of A.
_ [G] _ _ [A] _ _ _
_ _ _ _ _ _ _
So that's your other shape.
[Am] And we'll also [F#m] look at your minor shapes. _ _ _ _ _ _
[Em] _ _ _ _ _ So there we have like E minor voicing.
_ _ _ _ [E] _ _
[A] _ _ _ [Em] _ _ _ _ _
_ _ And the other [Am] thing which I also think _ is great, particularly with playing _ funk grooves per se,
is when you can have some upper voicings that have _ seconds in them.
That means two notes that are right next to each other.
Like in the key of A minor, _ _ we start with the C on the bottom.
_ _ And then on top we're going to [Gm] put the seventh and the root.
And you have these [Am] seconds on the top. _ _
_ _ Which by themselves, you know, sounds pretty harsh.
But when you put the third on the bottom, it just creates a great sound for a rhythm pattern
that can jump out in the context of playing a groove.
And it sounds like this. _
_ _ _ _ _ _ _ _
_ _ _ [E] And also another voicing which is also very common _ _ is having _ this_ _ _
_ _ _ _ _ _ _
for a sus chord that resolves to the [F#] third.
And here you have the seconds on the bottom.
_ _ [E] _
And another great funk voicing is _ _ with these seconds on the bottom.
So you have the flat seven and the root, and then the fifth on top.
And it sounds like this. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ And then also we have this one more minor voicing, which [Bm] is this triad.
_ Which is also _ [E] the top part of your E9 [Bm] chord.
_ _ [E] And then you take that up a whole [C#m] step.
_ [E] And then you have the root and the third and the sixth.
And that's a sound we've all heard.
So they work with these _ simple triads.
And you've heard this. _ _ _
_ _ _ _ _ You know?
_ _ So getting these upper structure triads and incorporating those in place of the bar chords
is a great resource to draw from when creating