Your baseline functional/fundamental working/practical chord knowledge

[NSJ]

I've been working on becoming absolutely fluent, in a systematic way, of being able to play each relevant M7/m7/7/half dim/dim chord in 20 different places on the fingerboard.

1. 4 different inversions x strings 1234
2. 4 different inversions x strings 6234 (swap out string 1 for 6 above)
3. 4 different inversions x strings 2345
4. 4 different inversions x strings 3456
5. 4 different inversions x strings 1345 (swap out string 6 for 1 in above)

so, that's 20 different way to finger each relevant chord.

Dispersion of the 4 different voicings--OPEN-- associated with #1,3,4 above

assume Maj 7 as example:

3715
5137
7351
1573

I wonder if anyone has any different SYSTEMATIC way of learning the fingerboard and applying the fundamental harmonic knowledge? (i.e., breaking up the fingerboard into 4, for the lack of better word, "quadrants", and finding the relevant open voicings thereto?

[bako]

I consider 6432 / 5432 / 4321 to be the same chord type and likewise for 6432 / 5321. As you note though the shapes are different but I am more focused on the intervallic content. Seeing the same intervals manifest in different shapes is something we deal with all the time depending on the influence of the differently tuned B string. For 7th chords there are 24 sequences of notes for each chord. Some can be further varied by displacing octaves but maintaing the sequence. There are also 3 note versions omitting a tone as well as ones with doublings. The shapes that are not playable simultaneously I play broken style.

This is how I studied but in playing I grab from a pool of chord tones available within the territory I happen to be.
The lead line, bass line and the spread of voicing I want are all influences I am mindful of.
In a sequence of chords I try to keep track of the movement of individual voices as best I can.

Beyond and in tandem with the permutations of a single chord is the idea of function.
What combinations of notes can fulfill the major, minor and dominant function in a particular situation.
In this context Ma7, Ma9, Ma9#11, Ma13, Ma6/9 are all part of the same major function.

One more perspective is knowledge of alternative progressional paths that will also lead to the target destination.

Things come together best when applied to songs and in examining the works of others.
All in all chord study can keep one busy for some time. You are wise to consider what is most relevant.
I get caught up sometimes in pursuit of all permutations which luckily for me also includes those voicings that are most relevant.

I organize the fingerboard using two approaches.

1. 5 fret positions (2 1/3 octaves of the chromatic scale + one unison)
2. string group combinations

[Drumbler]

I know lots of chords but since I've been doing a lot of chord melody I learn new voicings as I need them.

I use a good chord book (Hal Leonard Chord Encyclopedia) and also Guitar Pro to find voicings easily.

Then I keep a list of useful voicings in a Guitar Pro file which is like my personal chord book.

After awhile you pretty much know enough voicings to get by with an occasional new one.

I try for comfortable voicings, not impossible fingerings.

[fep]

My baseline is from these chord sheets

BTstudent8024 on Scribd | Scribd

And I know all the scale degrees in any position and the chord construction formulas. So I can easily come up with my own voicings by adding to these baseline chords.

I can do it pretty much on the fly, but I don't necessarily think of the chord names. I just think "Am stuff" which includes Am11 Am(maj7) Am9 etc. etc., which includes both full chords and just pieces of the chords. I can run these ideas in chord melody type forms up and down the neck.

[randalljazz]

that's a lot of work, nav...and certainly has great merit--no discouragement here. my approach for some time has been to find practical voicings for the tunes i play (or am learning, relearning), i.e., easy to grab, good voice leading, bass-compatible. get them down stone cold. mostly 4 note on top four strings and 3 note on 2,3,4. then shell chords (three note chords with root on 6 or 5) for variety, harmonic feel, and when the situation requires...

[NSJ]

Thanks for your responses! I guess I should also clarify that I'm also learning triads along stringsets 1-3, 2-4, 3-5, 4-6 as well. I will grok, accordingly. Randall, I still have one of your 3 note shell voicing exercises that you shared, somewhere on one of my drives. I'm gonna dig it out.

It's all a separate and related exercise from learning tunes, as well. The premise behind this exercise is functional fingerboard mastery. My teacher said that the idea of fingerboard mastery is a massive multi-year project and of course won't be conquered in a day The trick is to do it right: slowly, for example, making sure one can pick out the 1-3-5-7 (or other associated notes, depending on the chord) notes INDIVIDUALLY in proper sequence, regardless of the inversion--the goal is to be perfectly comfortable across the neck even as one goes up the neck, to be able to play all four inversions in each string set fluently first, then be able to apply the same voicing dispersions (e.g., 1573) for the same chord from stringset to stringset.

[NSJ]

I just want to add--someone told me that this is the sort of the same way Jimmy Bruno teaches chords (i.e., 4 inversions, stringsets, e.g., play all 4 inversions of CM7 along 1st 4 strings, starting from nut down to the 12th fet, then go up circle of 5ths/4ths (--F, Bb Eb Ab Db Gg..) and do the same along same stringset.

I don't have a way of verify this, as I'm not Jimmy's student.

[JonnyPac]

Originally Posted by fep

And I know all the scale degrees in any position and the chord construction formulas. So I can easily come up with my own voicings by adding to these baseline chords.

I can do it pretty much on the fly, but I don't necessarily think of the chord names. I just think "Am stuff" which includes Am11 Am(maj7) Am9 etc. etc., which includes both full chords and just pieces of the chords. I can run these ideas in chord melody type forms up and down the neck.

+1

I just think intervals/scale degrees, top/bottom/middle color and build chords/voicings on demand.

I also favor LH piano voicings for comping.

[Jazzaluk]

I base all my chordal thinking on the Maj6 chord form. It is an incredibly versatile form that can be moved and morphed easily into almost any chord and function. I find it a very useful reference point.

[mr. beaumont]

THis is also something I've never thought about! I wonder how many I do know?...

Everything I've learne has been situational...Arranging 10 tunes for chord melody in 3 keys each was pretty much the best thing I ever did for my chord vocab.

But then again, I'm still learning. I try to find a new chord shape (or a new application for ones i do know) as often as I can.