What's your go-to fingering for Dom7b5?

[Woody Sound]

Doe anyone use this?

[mr. beaumont]

Can't say I've tried that fingering, but I know I've done that one and left out the 7th.

Most of my chords these days are 2-3 notes.

[BigDaddyLoveHandles]

Doe anyone use this?

I usually finger that without the barre.

Take any drop-2 or drop-3 fingering of a dom7 and drop the 5th a fret.

I also like this: A9b5: xx5647

[Woody Sound]

I usually finger that without the barre.

Take any drop-2 or drop-3 fingering of a dom7 and drop the 5th a fret.

I also like this: A9b5: xx5647

Yeah, instead of barring with 2 I use 2-3. Can't do that barre and mute 5th st at the same time.

[BigDaddyLoveHandles]

Yeah, instead of barring with 2 I use 2-3. Can't do that barre and mute 5th st at the same time.

I do stuff like that when fangur pickun, but not with a pick, unless it's a broken chord.

[rpjazzguitar]

[QUOTE=Woody Sound;745293]Doe anyone use this?

That was the first one I learned. I still use it occasionally. The issue with it is that the low E string note is to close to the range of the bass and has a timbre that can conflict with piano. So, in a combo setting it's "handle with care". In a solo guitar setting, or, say, guitar and vocal, it's useful.

For go to voicings, using G7#11 as the example and looking at the top 4 strings:

xx3423

xx5667 (I rarely use this one because I don't care for the sound that much).
Instead, I'm likely to use xx5665 and make it a 9#11.

xx9 10 8 9

xx11 12 12 13 has the right notes, but I don't like the way it sounds much.

Then, there are fragments that work. So, for example, I sometimes play xx966x or xx566x.

But, it depends on the overall progression. The voice leading dictates the choice. Also, the sound in the room.

Last night, for example, I was playing with an octet using a Roland Cube 40x (not my amp). For some reason, the D string was too bassy with this amp (I don't have this problem with my own gear). Playing the D string in my usual chord voicings sounded muddy.

I found that I had to play a lot of my comping the G and B strings only. So, G7#11 was xxx66x.

This is one reason to work on thinking about individual notes and not grips. In this example, I decided that the important notes were going to be the #11 and the b7, so that's what I played. We were mostly playing new charts -- so I had no idea what to expect from the horns. If, say, the melody was the #11 (or if a horn had it), then it wouldn't be so important in the guitar part. All I'd have needed to do was to make sure I didn't put a 4th or 5th in my voicing. Not that it couldn't possibly work to do that, but I wouldn't go there until I knew what the rest of the band was doing. I'd probably have gone 3rd and 7th, maybe xxx46x.

[mr. beaumont]

Gotta try some hybrid picking for comping.

[thrush40]

That's one of my go to grips when charts call for #11 without other extensions. Raise the third finger up a half step (G# in this case) when charts call for maj7b5 (a beautiful voicing that I made the opening and closing of an original composition). And in a second mod for this grip use drop the fourth finger C# and use the first finger to bar a B and the Eb gives you a nice 9b5 voicing, one that comes up for me in my chart for Lush Life.

I don't play with keys or a bass player, just mainly by myself so I don't mind holding down that root in the bass.

[wolflen]

the 7b5 is a very versatile and subtle chord..leaving the root out adds to its utility and at the same time it can be a 7b5 chord a flat fifth higher with the root

A7b5 / Eb7b5

x 6 x 6 8 x
b5 3 b7 A7b5 - Eb C# G
R b7 b5 Eb7b5 - Eb Db G


it can be born from the Db diminished scale..and from that a "tri tone" scale is born -which works nicely over both chords in a ii7-V7 or in a turnaround type of progression--many ways to mix and match the notes in the scale..displacement and octaves are two that expand the scales use..and it does not have the "diminished" predictability .. mix it with some chromatic or phrigian lines and its a very cool scale...

A Bb Db Eb E G

[deselby]

A chord that I have always struggled in fingering in the 6432 position. Lord only knows why as it is not that difficult. Much easier for me on 5432. What I always marvel at is that the chord is symetric to the flat 5. Push up a flat 5 and it's the same chord in inversion. One of these days I may grok it.

[Drumbler]

-------------
-------------
--5------------
--3------------
--x------------
--4--------------

[DanielleOM]

I can't do any of these fingering that require require a back bend at the knuckle. I have to use all 4 fingers for that chord.

[SustaiNZ]

the 7b5 is a very versatile and subtle chord..leaving the root out adds to its utility and at the same time it can be a 7b5 chord a flat fifth higher with the root

A7b5 / Eb7b5

x 6 x 6 8 x
b5 3 b7 A7b5 - Eb C# G
R b7 3 Eb7b5 - Eb Db G

Fixed. I know what you meant and agree with the concept/application, just making sure nobody got confused by the typos.

[wolflen]

Fixed. I know what you meant and agree with the concept/application, just making sure nobody got confused by the typos.

thank you much...

[nopedals]

middle finger on the bass E, sometimes the thumb.

[mrblues]

Doe anyone use this?

I mostly use only that for that chord. But If you knw how are drop2s and drop3rds built, You can flat every 5th in those dominant 7th chords and voilá' You got that ;-)

[Rob MacKillop]

I use it in Stevie Wonder's "Superstition", where he sings: "When you believe in things that you don't understand, then you suffer".

It's in Eb, but I play in E. The chords are:

7978xx B7
8989xx C7b5
7978xx B7
6767xx Bb7b5
5756xx A7
7978XX B7#9

I just love playing those chords.

EDIT: sorry, I can't stop myself from sharing this with you:

The C7b5 could also be seen as a tritone sub for the V of B7. Similarly the Bb7b5 to A.

[JakeAcci]

I can't think of a circumstance where I would play a dominant with the root, b5, third, and b7, and no other notes. Just not a sound I'm crazy about, for some reason. The voicing originally posted, I'll show studentss that (different finger choices though) but only for consistency within a system ("hey this is a stock seventh voicing with the fifth flattened") but depending on the chord's function or context I'd replace the G string 3rd degree with either a 9th or b9th, or maybe not use the third at all.

[mr. beaumont]

Ipanema?

[JakeAcci]

Ipanema?

Hmm yeah I guess if it's a chord melody for a tune where the melody is the b5 on a dominant. But on that tune I feel like I have to play it the elevator way...and I wouldnt' want to play it on a gig.

[thrush40]

Over The Rainbow, My Funny Valentine

[cosmic gumbo]

Can't really play jazz without the magic b7b5 chord. I use the tritone sub, and its root is my b5.

[rpjazzguitar]

Doe anyone use this?

I'd be more likely to use it playing solo guitar. I don't like playing the 6th string if there's a bassist. And, I'm cautious about the 5th string. Lately, in fact, I've been doing more on strings 2 and 3 whereas I used to do my two note stuff on 4 and 3.

I do use xx 5645 quite often. And, that grip repeats at the 10th fret, so it's two for one.

I use xx4554, which contains the 9th, but nobody has ever complained.

Sometimes, I'll avoid the b5 entirely, and play 3 and b7 (usually leaving the root for the bassist).

I've used x5657x but I don't like the sound so much.

Sometimes two notes, one the b5 and the other the 3 or b7 depending on the situation.

Basically, you can take any 7th chord you know and b the 5, but some of the resulting voicings seem to sound better than others.