Drop 2

[S_R_S5]

How important are drop 2 chords? Is that like the main thing people use to comp? Or is it just a neat tool you can use? Thanks in advance

[ksjazzguitar]

Drop 2 are a category of voicings - they are not magic. They are very over-hyped. That being said, they are very useful voicings on the guitar and worth looking into. They are not the only way to organize voicings and all the voicings can be found by other means. But if you have a very pedantic, mathematical mind (like me) they can be a nice way to organize your voicing and work through them.

I use a lot of drop 2 voicings in my comping, but I never think, "OK, I'm going to do some drop 2 comping now." They are just part of my chordal vocabulary and I mix them up with everything else.

Peace,
Kevin

[cosmic gumbo]

If you learn how to construct your own chords, you will start to understand how different voicings solve different problems, and your chords will have more purpose. It's part of mastering the fretboard. Personally, I enjoy comping in a small combo more than doing solos. It is a satisfying and creative role to support another soloist. Sometimes you can help them reach new heights, and that feels as good to me as doing a solo myself.

[JonnyPac]

Originally Posted by cosmic gumbo

If you learn how to construct your own chords, you will start to understand how different voicings solve different problems, and your chords will have more purpose. It's part of mastering the fretboard. Personally, I enjoy comping in a small combo more than doing solos. It is a satisfying and creative role to support another soloist. Sometimes you can help them reach new heights, and that feels as good to me as doing a solo myself.

+1

I like to solo too.

[NSJ]

Here are the intervals I concentrate on to master the fingerboard (7th chords-M,m, Dom, half dim, dim)--in all keys

3715
5137
7351
1573

String sets--

A. 1-4
B. 2-5
C, 3-6

Next, given that strings 1 and 6 are the same note, for A and C above, just switch the strings (A becomes, for example, strings 6432 instead of 4321). It also changes the interval notaion, putting a different note in the bass.

I also practice the same chords on strings 5321.

After going through this, I feel you can find any chord in a ton of places on the fingerboard.

I also practice the same chord (eg, Em7) with each note of the scale as the top voice of the chord (obviously an Em7 with an F# as the top voice is an Em9, etc).

[Open_Tuna]

I don't understand why there is a distiction over drop 2 chords . . . what am I missing? To me, there is a chord and all of its inversions. The "all of it's inversions" include those that do not come in "numerical order."

Surely, all of these could be useful, I guess even if you can't finger them in a chord, but by knowing where the next note was.

Are they saying, "Be sure not to forget these voicings?"

What I want is ALL the (reasonably playable) four string Xmaj7 on one page (at least together):
"regular," drop 2, drop 3, etc. . . . all of 'em.

Then all the Xdom7 on a page.
Then minor7, dim7 . . . all the sevenths.

The X can be whatever, I only need one, obviously.
I don't need any extensions, only the sevenths.

What I have now is a helter skelter collection and some are repeated on following pages and I'm not so sure I have an exhaustive list.