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#2
07-06-2010, 08:31 AM
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 1357 ||---|---|---|---|---|-1-|---|---|---|---|---| ||---|---|---|---|---|---|-2-|---|---|---|---| ||---|---|---|---|---|---|---|-3-|---|---|---| ||---|---|---|---|---|---|---|---|-4-|---|---| ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|---|---|---|---|---|---|---|---| Which inverts to 3571 ||---|---|-1-|---|---|---|---|---|---|---|---| ||---|---|---|---|---|---|-3-|---|---|---|---| ||---|---|---|---|---|---|-2-|---|---|---|---| ||---|---|---|---|---|---|---|---|-4-|---|---| ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|---|---|---|---|---|---|---|---| 5713 ||---|---|---|---|---|-1-|---|---|---|---|---| ||---|---|---|---|---|---|-2-|---|---|---|---| ||---|---|---|---|---|---|---|---|---|3--|---| ||---|---|---|---|---|---|---|---|---|---|-4-| ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|---|---|---|---|---|---|---|---| 7135 ||---|---|---|---|-1-|---|---|---|---|---|---| ||---|---|---|---|---|---|-2-|---|---|---|---| ||---|---|---|---|---|---|-3-|---|---|---|---| ||---|---|---|---|---|---|---|---|---|---|-4-| ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|---|---|---|---|---|---|---|---| Move them to the next set of strings (5432 and 6543). Most can only be played high on the neck. However as you change quality from major 7th through dim 7, ect, you get some useful, playable voicings . I think he used this chord for in the firsdt measure of Ghost of a Chance. C6 /Ami7 ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|---|---|---|-1-|---|---|---|---| ||---|---|---|---|---|---|---|-2-|---|---|---| ||---|---|---|---|---|---|---|---|-3-|---|---| ||---|---|---|---|---|---|---|---|---|---|-4-| ||---|---|---|---|---|---|---|---|---|---|---|     |
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#4
07-06-2010, 09:39 AM
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| I may have the frets wrong. It's better to follow the notes CEGB EGBC GBCE BCEG Stacked in thirds. Some won't work well. however when you move them to a different group of strings they become quite do-able Like 5713 on strings 5432. The ma7 voicing becomes this: ||---|---|---|---|---|---|---|---|---|---|---| ||---|---|---|---|-1-|---|---|---|---|---|---| ||---|---|---|---|-1-|---|---|---|---|---|---| ||---|---|---|---|---|---|---|---|-3-|---|---| ||---|---|---|---|---|---|---|---|---|-4-|---| ||---|---|---|---|---|---|---|---|---|---|---| The bar makes it easier. Of course these work better higher up the neck where the frets are closer. Also since they are closely voiced they may sound 'muddy' when you get to the lower strings.(good for solo guitar. not as good when there's a bass player) You should check them out. Even if you can't holds your fingers in place you could still 'sweep pick' them , holding down 2 or 3 of the 4 notes Also, like I said, as you find the different qualities (ma7, dom7, mi7. ect) some become very playable |
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#5
07-06-2010, 10:02 AM
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| Remember, Johnny used a 25" scale neck only... |
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#7
07-06-2010, 10:25 AM
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| Quote:
 And I've never understood appeals to different scale lengths as far as making chords easier to grab. If I can grab one particular chord on a 24 3/4" scale neck, but not on a 25 1/2" neck, then I must be able to grab that on the 25 1/2" neck, just shifted up a fret. So the difference between what you can and can't do is at most within a fret. For me, the big difference is string tension, assuming the same string set. And I just like the 25 1/2" scale. And I've wondered about 27" scale Soloways, but I've never played one: Soloway Guitars - Swan Vs Gosling |
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#8
07-06-2010, 10:26 AM
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| A related voicing type is 3 note chords that include a 2nd. They are most playable on the GBE or DGB strings. CDF-----124 CDG-----125 CDA-----126 CDB-----127 CEF------134 CFG------145 CGA------156 CDE------123 ** (a bit harder) Take these and harmonize the Major, Melodic Minor, Harmonic Minor, Harmonic Major and any other scales that you use. Adjust the notes as needed. Ex. 134 in the Melodic Minor CEbF DFG EbGA FAB GBC ACD BDEb Because they are incomplete they can fulfill many functions. Ex. CDG in relation to different bass notes Bass Note----------Function C--------------------Cadd9----Cmadd9 Db------------------ D-------------------D7sus-----Dm7sus Eb------------------Ebma7/6 E-------------------Cadd9/E-----Em7#5-----E7+#9 F-------------------Fma6/9-------Fm6/9-----F13 Gb----------------- G------------------Cadd9/G-------Gsus Ab-----------------Abma7#11 A------------------Am7sus Bb-----------------Bbma6/9-------Bb13 B------------------Cadd9/B--------B7b9#9b13 These are some of the possibilities. I find this class of voicing very useful and playable. They mix freely with 4th voicings. |
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#11
07-13-2010, 05:07 AM
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| Quote:
PJ |
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#12
07-13-2010, 09:27 AM
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| Quote:
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Linear Mode
