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That lesson is one of the things that took me while to figure out and understand. I’m very glad you are digging into that one. It’s referencing the modal nature of those minor triads based similar shapes. There is so much packed in there, it just takes a while to absorb it all. I love the way he assigned happy, sad, bluesy, jazzy, etc… to the various sound qualities of the minor chords.
The six chord is always attached to one of the main three shaped triads directly (superimposed). The nine chord is a full step down with same shape. The six chord is always higher in pitch than the nine in this context.
Whatever the main chord is underneath it all determines what chord or sound is created by any given minor triad. In this case A major, so that F# is now the sixth of A major instead of the normal F#m if an actual F#m chord was underlying chord. It also is directly related to A major pentatonic that house looking shape (pattern #2) to play a major sounding lick. Your pattern #1 is there as well for minor sounds, or slide that house up to 9th fret
Dropping down a whole step with that same F#m shape, places your middle finger on the B note, which is the nine or 2nd of A major.
What is happening is the function of the notes in the shape are changing based on the underlying chord. The root note F# makes it F#m. The root note A, makes the F# function as the 6. Sliding down a whole step makes the C# (major 3rd) function as the 9 (B) and the E note goes from a 6 (F#) to a perfect 5th (E).
In the stair step pattern, the F# functions as the 6th of A. The A on the 2nd string is of course the root, C# is the major 3rd of A. Move it down a whole step and the E is now the 5th, the G is the b7, and the B is again our 9.
The bar shape (Em shape), has the F# functioning as the 6. C# is major 3rd, and A is the root. Slide it all down a whole step and you get b7, 9, 5. In the song, this shaped was used over a D chord. So C is b7, E is 9, A is 5th. That’s the nuts and bolts of it, but as Brian say’s, it is the sound of the D6 and D9 that you are trying to capture and associate to that underlying D major chord (A Shape). It’s a heck of a lesson to go over many times until you get it.
Norbert, your legend in the diagram is a little off. You have the diamond shape as the 9, but some diagrams show it as the 6. So the legend should say the diamond is the 9 or 6.
Root note patterns >>> CAGED shapes >>> TRIAD'S. Just put in the work and watch your guitar skills soar.
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Hi Michael, my friend “CT” (1) says:
“Sure — he’s right about the point he makes in the last paragraph. And after going through the diagram carefully, I think there’s actually one more detail that we may have missed as well. 😉
With the **A6 shape**, the diamond is indeed **not the 9, but the 6**.
For example, in the **A6 Stair-Step Shape**:
* high E string, 9th fret = **C# = major 3rd**
* B string, 10th fret = **A = root**
* G string, 11th fret = **F# = 6th**And that F# is marked with the diamond in my diagram. So in that case:
**Diamond = 6**
The same applies to the other A6 shape.
However, I don’t think changing the legend simply to
**Diamond = 9 or 6**
completely solves the problem.
In the **A9 Stair-Step Shape**, one whole step lower, the notes are:
**B – G – E = 9 – b7 – 5** relative to A.
But in my diagram the diamond is on the **E**, which is the **5th**, not the 9th. The **9th = B** is on the high E string at the 7th fret.
So if the symbols are supposed to indicate the harmonic function of the notes, there is still a small inconsistency in that diagram.
And I think this is actually the main point of the lesson:
**the same minor-triad shape can have completely different harmonic functions depending on the chord underneath it.**For example:
**F# – A – C# over A = 6 – 1 – 3**
Move the same shape down a whole step:
**E – G – B over A = 5 – b7 – 9**
And the same principle works over D:
**B – D – F# over D = 6 – 1 – 3**
one whole step lower:
**A – C – E over D = 5 – b7 – 9**
So yes, your explanation of the **bar shape and the D6 / D9 sounds** makes perfect sense to me.
I think before I simply change the legend to “Diamond = 6 or 9”, I should probably go through all the symbols in the A6/A9 diagrams once more.
So: **you caught me there. :-)**
But while checking it, I may have found one more little thing to sort out as well.”1 C(hatgp)T 😉
What do you think?
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I’m just glad your thinking through it. Once you sort it out, begin to apply what you learned right away to lock it in. The goal is to play the sound you are going for. Sad, happy, bluesy, jazzy, and just relate them to the underlying major chord. It was a nice review for me this morning, so thanks for bringing it up.
Root note patterns >>> CAGED shapes >>> TRIAD'S. Just put in the work and watch your guitar skills soar.
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