Alternative Grips For Chords?

[targuit]

One of my pet peeves is instructional video clips where the 'teacher' spends an inordinate amount of time specifying which fret with which finger on which string....I have little patience. I would like beginners to have a chord book handy, so one can guide them as to the useful voicings at different fret positions.

You know the old saying -


Give a man a fish, and you feed him for a day; show him how to catch fish, and you feed him for a lifetime

The elitist swine -

[mr. beaumont]

Screw chord books...Learn the fretboard and how to build chords and you're liberated.

[pingu]

I'm surprised that no one seems to have really touched on what context this chord is being used in.

Is it a chord melody, where the 9th is the melody note? In that case, that particular note is crucial.

Is it a color tone on the minor 7th chord? In that case, it can be omitted.

All that's really needed to say F#m7 is an F# in the bass, an A (the minor 3rd) and an E (the minor 7th).

If you're accompanying a vocal, that's plenty of support.

Specific voicings:


For chord melody with the 9th in the melody - xx2224

Chord melody or accompaniment - x8788x (root on the bottom, ninth on top)

Vocal accompaniment: 2x22xx or 2x222x (R, 7, 3 or R, 7, 3, 5)

OR

2422xx, if you want to do an alternating bass line.

I'm not the OP but I believe its in ipanima in F , B section bar 5 ..... so yeah the 9th G# on top is nice

also surely that x8788x above is an F9 did you mean x9799x perhaps ?

[GodinFan]

I'm not the OP but I believe its in ipanima in F , B section bar 5 ..... so yeah the 9th G# on top is nice

also surely that x8788x above is an F9 did you mean x9799x perhaps ?

Thanks for catching that. Edited to correct.

[Phlatt Wound]

I have a book called "The Guitar Grimoire - Chords and Voicings" by Adam Kadmon published by Carl Fischer. For each particular chord type it maps out all the notes on the fingerboard that are in that chord in all keys. A great tool early on in putting chords together. As Mr. Beaumont said as you get to know the fingerboard more completely you can just build these chords yourself because you know what notes you need and where you are at that moment on the neck.

[JakeAcci]

I have a book called "The Guitar Grimoire - Chords and Voicings" by Adam Kadmon published by Carl Fischer. For each particular chord type it maps out all the notes on the fingerboard that are in that chord in all keys. A great tool early on in putting chords together. As Mr. Beaumont said as you get to know the fingerboard more completely you can just build these chords yourself because you know what notes you need and where you are at that moment on the neck.

I mean, you really only need one grid

https://docs.google.com/spreadsheet/...rive_web#gid=0

[pantz]

I have a book called "The Guitar Grimoire - Chords and Voicings" by Adam Kadmon published by Carl Fischer. For each particular chord type it maps out all the notes on the fingerboard that are in that chord in all keys. A great tool early on in putting chords together. As Mr. Beaumont said as you get to know the fingerboard more completely you can just build these chords yourself because you know what notes you need and where you are at that moment on the neck.

I got that entire series as a gift. I could never figure out what to do with it. It seemed a bit unwieldy.

[kofblz]

Don't worry about a chord that doesn't sound good and clean when you first learn it. Give your hands a few months to get comfortable with it.

Chordability by Roni Ben Hur will make a chord gladiator out of you.

[elixzer]

no B note required (it would be the 11th)
1 b3 5 b7 and 9
thats F# A C# E and G#

another good point not mentioned yet is
to have your nut height set up properly
( as PTChris advocates !)
and then the grand barre type grips will be a lot easier !

Grand barre aren't used much in jazz or bossa
or boss guitar

I came here just now to make it clear that I dont mean I cannot bar. it is the 'grand barres' I struggle with which is the full bar or even 4 strings IF I am expected to hit base and pluck strings. my guitar is semi acoustic, and I play unplugged which I prefer, and several years ago my cousin lowered the action on it. But for what ever reason I have never liked full barres or grande barres, and dont see who i should heve to do them. For my first Brazilian tune which I sing over, there are no full barres throughout. But with Girl from Ipanema there are several and so I choose to strum them. It sounds alright because it gives a diversity to the flow, but I still would like to know alternative chords which is why I began this inquiry

Yes I am aware it is good to be able to construct chords via knowledge. But I like ALL ways being avialable. IE when a person goes to get tabs, they COULD have to learn how to read music but there is the alternative tabs. I dont see why they should not have this choice. Plus different types of tabs. Surely the important thing is playing music

How easy was it for people here to do full barres ON an unplugged guitar, and do Bossa Nova fingerplay? ya know--maybe you got bigger hands, chunkier fingers who knows? lol

[mr. beaumont]

The problem with tabs is the music you're getting into, jazz, isn't a lays guitar centric...thetefore, for many tunes, tabs don't exist.

The other thing is that a jazz or bossa player is not going to treat the chords in a tune as something set in stone...rarely will you hear the exact same voicings played in the same rhythm for a whole tune. It's just not the nature of the music.

One more thing, if you're singing and playing, j actually recommend NOT playing melody notes in chords..

[elixzer]

The problem with tabs is the music you're getting into, jazz, isn't a lays guitar centric...thetefore, for many tunes, tabs don't exist.

The other thing is that a jazz or bossa player is not going to treat the chords in a tune as something set in stone...rarely will you hear the exact same voicings played in the same rhythm for a whole tune. It's just not the nature of the music.

One more thing, if you're singing and playing, j actually recommend NOT playing melody notes in chords..

Not sure I understand " isn't a lays guitar centric". What's that mean?

Yes, I am all for fluidity, especially vocallym because I am more experienced singing than I am playing an instument. But now because of what I feel is a breakthrough for me learning Insensatez, I feel I could incpire budding guitar players to first get into a tune they love (I could only do this for those who love to sing and play at same time), and THEN once you start getting a tune under your fingers iot gives you confidence to experiment with different voicings, and especially if you like fingerstyle which also offers possibilities.
I am not doing strict Bossa Nova tempo. I have allowed myself to do it my way which I like.

One more thing, if you're singing and playing, j actually recommend NOT playing melody notes in chords..

Hmmm did I say I was doing so? As far as I know I am not doing that. I am really getting the rhythm over which I improvise with voice.

[bako]

If you play F# minor with a root on the 6th string, many of the options point towards the use of at least a partial bar because most of the basic chord tones are also on the 2nd fret.

If you play F# 9th fret A string or 4th fret D string, there are possibilities for F#m9 without a barre, but your bass note is then in the tenor range.

Letting go of the root provides other options.

[mr. beaumont]

Not sure I understand " isn't a lays guitar centric". What's that mean?

Yes, I am all for fluidity, especially vocallym because I am more experienced singing than I am playing an instument. But now because of what I feel is a breakthrough for me learning Insensatez, I feel I could incpire budding guitar players to first get into a tune they love (I could only do this for those who love to sing and play at same time), and THEN once you start getting a tune under your fingers iot gives you confidence to experiment with different voicings, and especially if you like fingerstyle which also offers possibilities.
I am not doing strict Bossa Nova tempo. I have allowed myself to do it my way which I like.




Hmmm did I say I was doing so? As far as I know I am not doing that. I am really getting the rhythm over which I improvise with voice.

*"always", sorry typo, not "a lays "
guitar centric= music specifically for guitar. Much of jazz is not.
(Bossa does utilize guitar though)

Playing that G# on top of the F# chord...that G# is the melody.

[elixzer]

If you play F# minor with a root on the 6th string, many of the options point towards the use of at least a partial bar because most of the basic chord tones are also on the 2nd fret.

If you play F# 9th fret A string or 4th fret D string, there are possibilities for F#m9 without a barre, but your bass note is then in the tenor range.

Letting go of the root provides other options.

This is what I want to make completely clear. I am not against partial barres. There are a lot in Insensatez. But find full/grande barres impossible to do fingerplay with/

as far as I know the root is important in Bossa Nova because it forms the ongoing tempo of the piece

[Phlatt Wound]

I mean, you really only need one grid

Yeah, I thought it was a bit redundant too, having page after page of grids. Oh well, don't use it much any more.