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The long-A chord

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The chord shape called the "long A" is very useful. You fret strings 2, 3 and 4 (and actually 1st string too) with your index finger. Then you can put you 4th finger on 1st string, 5th fret to get A and The 2nd finger on 1st string, 3rd fret to get A7. Then you see that you can alter easily between A and A7, and you have a few nice licks right under your fingers.

A A7

In the arrangement of Going Down Slow, I have thrown in many challenges. The intro is a turnaround lick based on the Long A, (as was in fact the turnaround in the previous lesson's Betty Blues as well). The key is to slide a partial barré over 2nd, 3rd and 4th string from 1st to 2nd fret.



 
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The first bar of the 12-bar blues is built around the long A. Again it is a Blues progression 2, but in bar 2 we go to a D9 chord, fingered as a moveable C7-shape.

A moveable chord can, as the name indicates, be moved up and down the neck. It will usually have no open strings. When I say usually it means that we can use some open strings in some positions. As shown in the diagram, fingered with 1st finger at 1st fret, it is a C7 chord. That is why it is called the C7-shape When payed in this position, you can use the open 1st string. It gives an E, which is the 3rd of the C chord. You have the E at the 6th string as well, but it does not sound very good, even if it belongs to the chord.

If you move it up two frets, you get a D7. In D7, we play no open strings. We do however play the open 1st string in this bar, which gave us a D9. (For an explanation of the 9th chord, go to xxxx).

Go up two more steps, and you have the E7. Now the open E-strings (1st and 6th) are the root, which we of course can play with the chord.

You can continue up the neck to F, F#/Gb , G, G#/Ab, A (where the open E-string will be the 5th of the chord), etc.

Then comes a fill in lick, which you should finger with 1st and 2nd finger, and move them down until you come to the "long A" again, and you see how it smoothly changes to A7.

The lick in bar 7 is really tricky. Just keep the A-chord in the beginning. You actually play an descending blues scale in the Long A position.

In bar 9 and 10 we use the Moveable C7-shape again. We start with an E7, and then we move down two frets to D7.

The turnaround is basically the same as the fill-in in bar 3, but here you have to be careful with your fingering to play it smooth. The trick is to fret the 1st string 5th fret first with your 1st finger, then with your 3rd and finally with your 4th finger.

You do actually get a series of chords here too, but I think of it more as a lick than a series of chords. The first is A, the next is a partial F7 (or Adim). The last one is not easy to label, but I will call it Bm7. You can read more about the challenges of naming the m7 chords in the lesson on the I-ii progression

A
Notice that it is the sonic shapePartial F
F7 (or Adim)
Notice that it is the sonic shape D7
Bm7
This is the sonic shape Middle D

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