Drop Chords

[crimzon]

Hi, my practice routine mostly consists of learning standards and practicing improv. But I neglect comping a lot. Can anyone point in the direction of some PDFs with all of the drop chord voicings so I can start learning them. Also some advice on memorizing all of the chords would be great too, I have tried memorizing them before but gave up..

Thanks!

[FatJeff]

I would suggest that you "derive" the chord shapes yourself. You're going to learn these a lot better and faster if you get your brain involved on the problem-solving level instead of just trying to absorb some random shapes that someone else gives you.

The formula is pretty easy: take a given root-position drop-2 or drop-3 chord as your axiomatic definition, and then systematically move each note up to the next note in that chord to get your next shape.

Let's take, for example, the m7b5 chord. The classic example everyone always learns first is on the strings 5-4-3-2 (the A, D, G, B strings), and so for Bm7b5: x-2-3-2-3-x (B, F, A, D). Notice that the B is the lowest note, hence the "root position" designation. Now, move the B on the 5th string up to the next possible chord tone in the Bm7b5 chord (to D, at the 5th fret). Do the same for the other 3 notes (from F, A, D on strings 4-3-2, to A, B, F). Try it for yourself. You should end up with the chord shape x-5-7-4-6-x. Do this twice more to create all 4 inversions of a drop-2 voicing for m7b5: x-2-3-2-3-x, x-5-7-4-6-x, x-8-9-7-10-x, x-12-12-10-12-x.

The beauty here is that you now have possibilities to play m7b5 from anywhere on the neck within just a coupe of frets from where you are. You should take the time to do the same thing on the string sets 6-5-4-3 (less useful in general), and 4-3-2-1 (extremely useful).

This approach can also be used for any other quality of chord, given a correct "generator" chord in any inversion. Sometimes the fingerings are a bitch, but you should make an effort to stretch into them. This is how I learned all my drop-2s and drop-3s. BTW, it takes a long time to memorize them (or at least it did for me). You really need to start using these in songs in order for them to sink in. And it takes time. Did I mention it tends to take a long time to memorize these?

For the more advanced student, substitute the 9th for the root. You will start to see some interesting things when you do that. :-)

And BTW: Drop 2 Chords - Chord Chart, Theory & Exercises

[mr. beaumont]

Taken from a rant a day ago or so...

"I'm going to rant a bit, about a pet peeve of mine...this rant is not directed at anyone in the thread, but rather at "amateur jazz teachers" everywhere.

Re: Drop 2 and Drop 3 voicings.


When amateur teachers on the internet wanna get particularly pedantic, they'll often start rattling on about the amazing drop 2 and drop 3 voicings...they never explain them well, and things remain a muddy myth that jazz beginners get hung up on...here's my attempt to unmuddy the water...

Let's take a good old root position Gmaj7 chord on the top four strings:

x x 5 4 3 2, fingered x x 4 3 2 1

Nice chord. But we know, for jazz, that in order to keep our comping interesting or lay solo pieces, we need to know more than one place to play a chord...so we hear about "inversions" and get our boxers in a big 'ol bunch.

So we "invert" this chord, taking the lowest note, the root, and putting it on top...so we find our first inversion of a Gmaj7 chord-- G B D F# becomes B D F# G.

Now, let's play that on the same string set...okay, there's my B, on the 9th fret of the fourth string...ah! there's a D close by on the third string, and cool, an F# right there on the second...now that G.

Uh...wait a minute...I'm out of fingers...

x x 9 7 7 3

If you can play that, god love ya. But it's impractical. This is where the "magic" of drop 2 voicings comes in...

If I take that second note from the top, the F#, and drop it to the bottom of the chord, what do I have...F# B D G...Hmmmm...staying on the same string set, can I find these?

x x 4 4 3 3

Wow! There it is! A drop 2 Gmaj7 voicing. Not too crazy, huh?


The truth is, you'll read so much about the benefits and magic of drop 2 and 3 voicings on the internet it'll make your head spin...but the truth is, on the guitar, you don't have much choice! Drop 2 voicings aren't magic or mystical, they're POSSIBLE!

When I first heard about drop 2 and 3 voicings I was about 2 years into my own personal jazz quest...I immediately started reading up, eyes glazing over at the ridiculous explanations many youtube "teachers" tried to give...then I found a chart of them and realized..."Oh. I know all of these already."

Truthfully, if you take each 4 note chord (maj7, m7, 7, m7b5) and try to find versions on the same string set with a different note on the bottom (i.e, one with the third on the bottom, one with the fifth, one with the seventh) you will discover the drop 2 voicings yourself. Splitting a string set? You'll discover drop 3. Try it...forget about what order you want the notes in. Pick a string set (let's say top 4 again) and this time we want the fifth, the D, on the bottom...you know the notes you want are G, B, D, and F#. We've selected a D for the fourth string....how many other logical ways are there to piece together the G, B, and F# on the top three strings? Not many!"

[samrsmiley]

I totally agree with FatJeff-making up your chords on your own will make them stick much better than looking at a page of them. Plus you'll find what you'll actually use, instead of using 'drop 2's for the sake of using drop 2's. Most of the 'drop chords' are ones you already know, you just didn't know that that's how they were voiced.

[Pieter-Jan5000]

I understand the "theory" behind drop2 chords, and am able to play all inversions. I also know how to "build" them. The question I have about this subject is how to start using them in your playing? I think it's really hard to start throwing them in there ... any hints? Thx

[FatJeff]

I understand the "theory" behind drop2 chords, and am able to play all inversions. I also know how to "build" them. The question I have about this subject is how to start using them in your playing? I think it's really hard to start throwing them in there ... any hints? Thx

How is it any different than using any other kind of chord? Or - are you saying that playing with chords in general is the problem?

[Pieter-Jan5000]

The problem I have is that now I have 2 or 3 to-go shapes for all the chords. When I see a F7 I will play either 1x121 or x8786x, whatever is closest to the previous shape I chose. I play around with different top notes to get a little bit interesting (9's 11's 13's etc. ) but I'd like to start switching chord-shapes as well to get a descent movement going. I practice the drop2 chords for a few weeks now, but I haven't found a way to start incorporating them yet ...

[JohnW400]

1) II-V-I's each inversion but keeping common notes

ex Dmi7/G7/Cma7

xx3535
xx3433
xx2413

next inversion

xx7768
xx5767
xx5557

etc.

2) substitute rootless chords and repeat 1)

ii use IV (Dmi7 use Fma7)
V use vii (G7 use Bmi7b5)
I use iii or vi (Cma7 use Emi7 or Ami7)

I try to keep voices moving in a line

3) play a standard in one position

Take a tune like All the things you are and try to stay in one position for each chord change

4) Alter the chord by moving one voice to a non chord tone and repeat 1)

Dmi7 move 7 to 6 xx3435
G7 move 3 to 4 xx3533
Cma7 move 5 to #5 xx 2414

[FatJeff]

The problem I have is that now I have 2 or 3 to-go shapes for all the chords. When I see a F7 I will play either 1x121 or x8786x, whatever is closest to the previous shape I chose. I play around with different top notes to get a little bit interesting (9's 11's 13's etc. ) but I'd like to start switching chord-shapes as well to get a descent movement going. I practice the drop2 chords for a few weeks now, but I haven't found a way to start incorporating them yet ...

LOL, I've been working almost daily on drop-2 and drop-3 chords for 3 years now, and I'm still not "finished." Relax, take your time! Each of those voicings has a different flavor; only with repeated use will each flavor make itself known to you. Keep working with them (and the extensions and alterations, as you mentioned).

[onetruevibe]

I just worked on wiring the chart at the BOTTOM of this page into my brain-matter:

jazzguitar.be/guitar_notes.html

Once I started to see things this way, it made it easier to find interesting (or as Mr. B. put it, "possible") voicings - not giving much of a whit whether or not it was drop 2, and inversion, or whatever.

As long as it was efficient are sounded good (to me).

[mr. beaumont]

We get so hung up on terminology...if I'm ever at a gig and the leader leans to me and says "play some drop 2 chords on this one" I'll gladly rescind my earlier comments.

[onetruevibe]

We get so hung up on terminology...if I'm ever at a gig and the leader leans to me and says "play some drop 2 chords on this one" I'll gladly rescind my earlier comments.

[aniss1001]

Another member uploaded this recently. Can't remember where so here it is again....

[edh]

This is the first time I have heard of the terminology of drop-2 & drop-3 voicings. I know the chords just never heard of them called drop-x.

[AmundLauritzen]

Og God, comping... The one reason I feel comfortable in a quartet setting(with bass, drums and piano) is because comping is a whole subject of its own. It all depends on your own standards. Where you draw the line between supporting the soloist and destroying him completely. Underplaying always beats overplaying, that's for sure. Less is more. Then, when you develop master ears you'll just know what to do instinctively. I'm not there yet. Give me 20, 30 years then maybe. Good luck!

[Prome]

Nice rant, Jeff, and so true.

[docbop]

I totally agree with FatJeff-making up your chords on your own will make them stick much better than looking at a page of them. Plus you'll find what you'll actually use, instead of using 'drop 2's for the sake of using drop 2's. Most of the 'drop chords' are ones you already know, you just didn't know that that's how they were voiced.

I went to GIT back in the Howard Roberts days and were taught how to create our own voicings. Howard would joke now we can all go out and write our own 5000 guitar grips book and sell 'em.

[nosoyninja]

I have to agree that working them out yourself is the best and quickest way to dominate the material. My first class with my jazz guitar teacher, he said: "ok, this is drop 2 on paper. Next class you come in, show me all inversions on the fretboard for maj7, min7, maj 6, min6, dom7, dom7b5, min7b5, diminished 7, aug 7, and every other 4 note chord on every possible string set.(the list contained a total of about 13 different chord types).

I answered: "well, see you in a year!" ha ha. Anyway, I sure did a lot of sweating and tounge biting that week in the woodshed. I managed to work most of them out and brought them in the next week for class. As I was settling in to show him my work, he sat back, smirked and said, "forget it, you don't really need to know all that, look..." And then he showed me the major 6th diminished scale and minor 6th diminished scale built from drop 2 voicings. It is the biggest AHA moment I have ever had on the guitar!

I don't have a specific point with all that. But I will say that if I hadn't at least tried to work out ALL the voicings for ALL the chord types, the shortcut my teacher showed me wouldn't have made any sense at all. So yeah, work out all the drop 2 voicings at least once. For further study I recommend the Randy Vincent book, "jazz voicings, vol. 1" and "the barry harris method for guitar" by alan kingstone.

To answer the OP's original question a bit more specificaly, I'd recomend starting simple. Totally dominate and own drop 2 on strings 5432 first. Then strings 6543. These two sets are where most of your comping will happen, specially set 5432, so it's your best bet to start off. After that you can add set 4321, and then drop 3 on strings 5 and 6. Concentrate on working out major 6, min 6, and dom7 first, as these are the doorway to all the other chord types.

I have to add that this is just what has worked for me, and may not be the best road for everyone to take.

Cheers.

[FatJeff]

As I was settling in to show him my work, he sat back, smirked and said, "forget it, you don't really need to know all that, look..." And then he showed me the major 6th diminished scale and minor 6th diminished scale built from drop 2 voicings. It is the biggest AHA moment I have ever had on the guitar!

This is the Barry Harris deal, right? I'd like to hear more about that. What specifically was "aha" about it? I tried to understand the Harris method when I first started out and was baffled.