Danny Grady: In the last lesson, we learned how to do major and minor chords using the sixth string as your root or what we would refer to as the E form.
Now let's expand upon that and we will throw some seven chord and some sus chords in to the mix. Again we are going to be using the sixth string as our root and remember that all natural notes are whole step apart with the exception of E and F and B and C which are right next to each other, half step apart.
So with that logic we have E, F, G and A here on the sixth string and then if we started G and go down a half step we would have G-flat, so we started at G and go up a half step, and we would be a G-sharp.
So let's do G seven. We'll find our root E, F, G bar all the way across here at the third fret with your first finger, your third finger would go at the fifth fret of the fifth string, your second finger goes at the fourth fret of the third string and this is one way to play G7.
The way I like to do is I like to do that same exact form but now I add my pinky to the sixth fret of the second string and that's G7. Now if you were to take that shape and bring it down a half step, there would be G-flat 7, take that up and bring it up a whole step, and you have G-sharp 7.
Now by that same token we have E, F, G, A to that same shape from A as your root, and we have A7, down a half step A-flat 7.
So just get use to that chord shape and where ever you put the root that's what you got. We have F sharp here and, that's F-sharp 7.
Giles Martin: Hi! This is Giles Martin, I am here in Abbey Road Studio 2, so that now we can work it out by the Beatles, and whole other verses and strum with the chords. It's quite interesting because the song itself pull side of this, sort of based of his practice relationship with Jane Asher.
The G chord for two beats to D major chord for two beats, G two beats then to A7.
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