Theory
Yesterday you saw that in the D-shape the 3rd is the top note (1st string). Today you touch only that top note. The rule is the same as month 1 — lower the 3rd a half step for minor. But this time that 3rd is the highest note, so changing the chord flips the topmost sound directly.
- G major — the top note is the 3rd (B) on the 1st string, fret 7.
- G minor — the top note is the b3 (B♭) on the 1st string, fret 6.
So moving one 1st-string finger between frets 7 ↔ 6 switches bright↔dark. Up high, this change is especially vivid — whether the top note is a bright 3rd or a dark b3 *is* the chord's expression. R·5 stay put; only the single topmost note moves. With one finger you turn a song's expression bright or dark. That 3rd switch you learned last month now sings up top, so it reads far more dramatically. It's not hard — you're only moving one fret. Just take one thing away today: "want it bright, play the 3rd; want it dark, play the b3."
See it
G major (D-shape) — top note is the 3rd (B, green).
G minor (D-shape) — only the top note lowered a half step to b3 (B♭, green). 1st string 7 → 6.
Example 1 — top-note 3 → b3 switch line. On the 1st string, fret 7 (3, B) next to fret 6 (b3, B♭). Hear the topmost sound flip from bright to sad.
▶ BPM 72. "Root → 3rd (bright) → b3 (dark) → 3rd." Feel one top note flip the chord's expression. Repeat 4×.
Example 2 — major ↔ minor high-register comp. Bar 1 G, bar 2 Gm. Strum the four thin strings, but only one 1st-string finger (7↔6) moves.
▶ BPM 80, repeat 4×. Bar 1 bright G, bar 2 dark Gm. Only the 1st-string top note, 7↔6. Enjoy the change in the topmost sound.
Today's practice
0–10 min · Warm-up Alternate G ↔ Gm every four beats. Only the 1st string 7↔6; the other three strings fixed. Keep the 6th & 5th muted.
10–20 min · Brain training (today's target = top note 3↔b3) With Example 1, alternate the 1st string frets 7 and 6, saying "third / flat third." You pass when you can flip the top note bright (7) and dark (6) with eyes closed.
20–40 min · Real comping (Example 2 / 76–86 BPM) Repeat Example 2 at BPM 80 4× (G↔Gm). Once comfortable, move the root to another fret (e.g., A = 7) and apply the same top-note switch. Feel that the top note drives the chord's impression.
40–50 min · Record & reflect (recommended) Record 30 seconds of G↔Gm. Check: does the top note (1st string) change clearly, and do the low strings stay silent?
Done when: you can switch high-register G ↔ Gm using only the 1st string 7↔6, and you understand the top note decides the character.
- Changing the whole hand. For minor, only one 1st-string finger moves a half step. Leave the rest planted.
- The top note won't ring. If the topmost 1st-string note dies, you can't hear the chord's expression. Stand the fingertip up so the 1st string is clean.
- Looking for the 3rd on inner strings. In this shape the 3rd is on the 1st string (the top). Watch the top, not the inner strings.
- Slacking on the low strings. The 4th-string root always means muting the 6th & 5th.