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Tom Ward’s Downfall Key of G major
As with the standard version of the previous tune the rhythm here is the "boom-chick" style. The D chord that I usually play is not the normal D major chord because I am leaving out the high F# and dampening the high E string; this makes it sound more open. As a further variation on this I sometimes use my thumb to push down the low E string on the 2nd fret to add an F# in the bass; this usually creates a small run to the G note. When playing this F# in the boom-chick style, strum the bass string and then the rest of the D chord without playing the A string because this is your next bass note. Also, dampen the high E string with the flesh of your first finger. Note the quick E modal in the penultimate bar; I could have played E minor but I just play the E string and the B on the A string for expediency.
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Tom Ward’s Downfall Dropped D Tuning Key of G major
Notice that the second chord is a hand shape seen before, but this time I have given it a different name (Emin7sus4 instead of A7sus4) because the context is different. Either name could be used in either context: the reason that I use the E version here is that E is the relative minor of G and this seems more likely between two G chords. Notice that the G chord is modal, that is, there is no B (major third) on the G string (2nd finger, 4th fret). The D chord includes a suspended 4th (G); this chord is the same shape as the standard C major chord simply moved up two frets. It’s an efficient way to get from a C chord (or A minor chord) to D and it also adds a nice colour.
The D chord in bar 14 is an open (modal) chord comprising the first four strings only; the index finger is simply placed on the G string 2nd fret. The rhythm is quite like a boom-chick pattern.
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Tom Ward’s Downfall with Substitutions
There is a good run on the A string - from A to D - at the end. The fourth last chord is G with a suspended 4th; this facilitates the run and adds colour.
The E minor (with a dampened A string) at the start of the B part really gives the tune a different color; it also helps to differentiate between the A and B parts. The A-string run seen in the first part is repeated in the second part.
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