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Nick shows how to master open chord muting by using slightly different techniques to adapt to each individual chord shape.

Catch up with the first two tutorials in the Mastering the Art of Muting series:
Part One
Part Two

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Abridged Script:
In the last lesson in this series we looked at muting barre chords. But there are also many occasions when we want to mute open chords as well. Of course, there’s nothing wrong with playing open chords unmuted and there are many times when allowing the chords to ring freely is exactly appropriate to the song you are playing. But there are definitely times when gaining more precise control over the sound, helps you nail the rhythm you want more accurately.
In general, muting open chords helps you get an edgier, rockier sound. But muting open chords is not quite as simple as at first it may appear. With barre chords we found we could simply relax our grip and switch the sound on or off at will.
To demonstrate this, I want to take you through a version of Ben E King’s Stand By Me played using open chords in G major. Each chord in this song raises different problems, when it comes to taking control of the sound by applying fretting hand muting technique. Here’s how we are going to play it…
The G chord is one of those chords I mute by rotating the hand and allowing the fingers that form the chord to collapse across all six strings like this.
For Em there are two options – either taking a similar approach to what we just did with G. Rotating the shape round, but in this case, bringing in the thumb to take care of the open E string. Alternatively, you can use the two fingers you have spare – the third and fourth fingers – to act as dampers like this.. I find both those techniques quite effective for Em and I advise trying them out to see which one works best for you. You may find that the choice depends on what chord you need to play next.
For the C chord I tend to already have the thumb muting out the 6th string, so again it is simply a matter of rotating the wrist and allowing the fingers to collapse across the remaining five strings.
For the D7 chord we are presented with one of the more difficult open chords to mute. It can be hard to take control of the bottom three strings with the fretting hand in this situation. So, I restrict the range of my strumming hand to just the top four strings. Then I simply relax the fingers that are in touch with the top three strings and at the same time allow a very slight movement of the finger on the third string so that it just touches the open fourth string as well.
So, I hope a look at the detail on each of those chords will help you develop your own methods for muting these chords and all the other open chord shapes you use.

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How to Mute Open Chords on Guitar.

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