One Way to Practice Jazz Guitar Chords

[dasein]

This is one way to practice chords that's been helpful for both me and my students. I don't claim that it's the only way or the best way to practice. But I think it's a useful way to cover a lot of practical ground. Advanced players should know all this already (although certain parts of it might be fuzzy), and it's probably too much for beginners.

Let's take start with a standard Cmaj7 voicing with the root as the bottom note. Here are three different ways to play it:

Drop 2: C G B E

Drop 3: C B E G

Drop 2 & 4: C G E B

In jazz guitar circles, I see a lot of Drop 2 and Drop 3, but comparatively less Drop 2&4. This is a shame, because adding Drop 2&4 allows you to play any inverstion of a 4-note 7th chord with any note on top.

If you play those three chords in order, you get a sort of arpeggio.

What you can then do is play through the diatonic 7th chords of a key:

First play Cmaj7...

Drop 2: C G B E
Drop 3: C B E G
Drop 2 & 4: C G E B

Then Dm7...
Drop 2: D A C F
Drop 3: D C F A
Drop 2 & 4: D A F C

On through all the diatonic chords in Cmaj7.

After going through the root position chords, then you go onto first inversion, second inversion, and third inversion.

Work through different keys, string groups, etc. You can also do the same thing for diatonic chords of melodic and harmonic minor, apply it to tunes, etc.

Once that starts to get comfortable, you can then start working through different voice leading cycles, ala Mr. Goodchord.

For me, this approach is a bit more thorough and more practical than some of the other chord practice routines I was doing. You start hearing more of the melodic possibilities in chordal playing, and get more comfortable with voicings you wouldn't normally play.

[NSJ]

I try to think of the fingerboard as specific to each particular song and the given key or keys the song goes through. Assuming, for example, the song is strictly in G >>>

I am working my ass off to integrate seamlessly the following chord structures and voicings, such that one form can go to the other form without thinking, either on the same string set or to a different string sets, either from one inversion to another inversion.

It is also very important to think of triads as much of seventh chords, not just conventional triads but also spread triads.

Here's my system, for lack of a better word ----

1. Drop three voicings and inversions in both forms, I E beginning on the six string and beginning on the fifth string.

2. Drop 2 voicings and inversions on the first 4strings and the middle 4 strings. I omit the drop 2 voicings on the last four strings.

3. Barry Harris' harmonized major and minor sixth diminished chord scales, again for the first four strings and the middle 4 strings. I once again omit the final four strings, too muddy.

4. Voice lead diatonic triads in root, 1st and 2nd inversions for strings 234 in particular. Which allow a melody note on the top string and possible bass movement on strings five or six

5. Spread diatonic triads (153, 315, 531), which involve skipping a string, either voice lead across the neck or up and down the neck.

6. Root movement that allows for the chord, arpeggio or scale to be interchangeable, and can easily be cycled, especially ascending the circle of fourths.

7. Guide tones plus 1 melody note, with the guide tones on either Strings 6-5, 5-4, or 4-3.

That's about as comprehensive as I can imagine it and still be doable in an integrative way that aspires to be seamless, i.e. transitioning from one of the above to another one as needed .

[christianm77]

Here's another way to practice the same material.

Pick a top note - working on a chord/melody arrangement perhaps.
Pick a bass note
Find a voicing with the other two voices.
Find another bass note.
Rinse and repeat.

So, say we have an F major chord - we have a 3rd (A) melody note, and we want a 5th (C) in the bass. That leaves the 7th and root. So we have:

C F E A
C E F A (two combinations, possible octave transposition)

x 3 3 x 5 5
8 7 x x 6 5

etc

If you are practicing your drops and triads I was once taught this brain-wrecking exercise, which is a Mick Goodrick (Goodchord) one I think.

Play ascending chords through the scale, but with descending voice leading, so for triads C:

C
Dm/A
Em/G
F
G/D
Am/C
Bm7b5
C/G
etc

Gets you through all the inversions, and sounds lovely

[NSJ]

Here's another way to practice the same material.

Pick a top note - working on a chord/melody arrangement perhaps.
Pick a bass note
Find a voicing with the other two voices.
Find another bass note.
Rinse and repeat.

So, say we have an F major chord - we have a 3rd (A) melody note, and we want a 5th (C) in the bass. That leaves the 7th and root. So we have:

C F E A
C E F A (two combinations, possible octave transposition)

x 3 3 x 5 5
8 7 x x 6 5

etc

If you are practicing your drops and triads I was once taught this brain-wrecking exercise, which is a Mick Goodrick (Goodchord) one I think.

Play ascending chords through the scale, but with descending voice leading, so for triads C:

C
Dm/A
Em/G
F
G/D
Am/C
Bm7b5
C/G
etc

Gets you through all the inversions, and sounds lovely

The easy pneumonic way I used to internalize your last point was ' as you go up the scale [1234567] , you cycle down the triad inversion [R, 2nd, 1st, R, 2nd, 1st, R]'. And vice versa. I would play the 7th° (R position ) not as a diminished triad but rather with a Rb5b7 voicing.

[christianm77]

Hate to be that guy (esp. as I am dyslexic) but the word you meant I think was mnemonic?

I was wondering if you are talking about the same thing when I read that point actually... It's a good exercise, though...

Anyway, I think it's good to practice as many different combinations as possible. Keep it fresh. The more ways you can look at something, the better you know it. Even dim triads (which are pretty rare in jazz harmony I'll grant you ;-)) I just like to keep it really mathematical for this type of exercise.

The way I see it, you are not learning the grips, but rather the process for seeing and hearing harmony on the fretboard.

[edh]

Are there specific fingerings you use for your practice method?

edh

[Rhizomeman]

I use the Harry Leahey method, which is really simple and straight forward. Once mastered, you can move onto other string groups and up a 2nd, 3rd, 4th.

Start with string groups 1234, 1235, 2345, 2346, 3456, with all inversions available. Pick one string group, with all inversions available, and practice them using this simple progression with smooth voice-leading sticking with that one string group:

IM7 - vi7 - ii7 - V7 - IM7

Once this is fairly easy, work this through some tunes (Solar, All the Things, etc..). You can then use this system with m7b5, dim7, 9th, 11th, 13th, b9, b13, etc, chords. This system generates, very quickly, useful and varied smooth voice leading for playing jazz standards. Hope this helps.

- Rhizomeman

[PMB]

I use the Harry Leahey method, which is really simple and straight forward. Once mastered, you can move onto other string groups and up a 2nd, 3rd, 4th.

Start with string groups 1234, 1235, 2345, 2346, 3456, with all inversions available. Pick one string group, with all inversions available, and practice them using this simple progression with smooth voice-leading sticking with that one string group:

IM7 - vi7 - ii7 - V7 - IM7

Once this is fairly easy, work this through some tunes (Solar, All the Things, etc..). You can then use this system with m7b5, dim7, 9th, 11th, 13th, b9, b13, etc, chords. This system generates, very quickly, useful and varied smooth voice leading for playing jazz standards. Hope this helps.

- Rhizomeman

I arrived at exactly the same method some years ago before discovering Harry Leahey's approach. It seemed logical to me as that progression is the most common of all. Those particular drop 2 & 3 voicings (Leahey, along with his student Vic Juris in his book Modern Chords referred to them as "The Big Five") are also basic to comping. Apart from going through all the inversions and adding extensions and alterations, I like to teach 'before' and 'after' versions by working both backwards and forwards from a harmonic point of view. Starting with the I and V, we gradually build up to the IM7 - vi7 - ii7 - V7 - IM7 turnaround and then investigate a number of common subs.

[Jonah]

when I wanted to cover gaps in basic 7th chords shapes and inversions (Drop 2,3, 3/4, 2/3 in all string sets variations). I did this: Bass reference. 1. Open any song in real book (better relatively simple where no complex chords involved) 2.Choose any voicing and string set (for example Drop 2 on 2-3-4-5 strings). 3. Play each chord harmony consequentely all over the fretborad up and down (or one up, next down)Melody reference - really important to associate chord shape not only with bass but with melodic voice 1. Open any song 2. Choose specific voicing and strings set. 3. Play melody notes harmonized exclusively with basic shape and its inversions (in case of non chordal sounds try diminished, or just play this note on top) Then it's important to extend this to 1. the same as before 2. Choose any two voicings or string sets (say: Drop 2 on 2-3-4-5 and Drop 2 on 1-2-3-4.. any combionations). 3. The task is the same but now the idea is to connect each chord to the closest grip on the fretborad availableIt is also important not to mix it with voice-leading practice... you practice grips here, some times voice leading could be good some itmes not... Actually you need proabbaly about 2-3 weeks of this kind of playing and the grips will be in your hands (in case you have some background in theory and know the fretborad - so you have references)... and then you do not come to it any more... There are weird fingerings and sounds sometimes - but they can be treated in teh future in absolutely different contextit is important to play through a song - that makes it real fun. It should be fun!Sorry some problem with the browser. I cannot arrange the text properly

[DaveF]

This is one way to practice chords that's been helpful for both me and my students. I don't claim that it's the only way or the best way to practice. But I think it's a useful way to cover a lot of practical ground. Advanced players should know all this already (although certain parts of it might be fuzzy), and it's probably too much for beginners.

Let's take start with a standard Cmaj7 voicing with the root as the bottom note. Here are three different ways to play it:

Drop 2: C G B E

Drop 3: C B E G

Drop 2 & 4: C G E B

In jazz guitar circles, I see a lot of Drop 2 and Drop 3, but comparatively less Drop 2&4. This is a shame, because adding Drop 2&4 allows you to play any inverstion of a 4-note 7th chord with any note on top.

If you play those three chords in order, you get a sort of arpeggio.

What you can then do is play through the diatonic 7th chords of a key:

First play Cmaj7...

Drop 2: C G B E
Drop 3: C B E G
Drop 2 & 4: C G E B

Then Dm7...
Drop 2: D A C F
Drop 3: D C F A
Drop 2 & 4: D A F C

On through all the diatonic chords in Cmaj7.

After going through the root position chords, then you go onto first inversion, second inversion, and third inversion.

Work through different keys, string groups, etc. You can also do the same thing for diatonic chords of melodic and harmonic minor, apply it to tunes, etc.

Once that starts to get comfortable, you can then start working through different voice leading cycles, ala Mr. Goodchord.

For me, this approach is a bit more thorough and more practical than some of the other chord practice routines I was doing. You start hearing more of the melodic possibilities in chordal playing, and get more comfortable with voicings you wouldn't normally play.

Sorry to resurrect such an old thread but I just discovered it.
Dasein, please could you demonstrate how you could have E, G & B as the top voices of first inversion C Major7 (using drop2, drop3 and drop2&4 chords) without changing inversion? It seems to work nicely on root inversion as you demonstrated but not the other inversions or am I missing something? Sorry if I'm being in imbecile, I just tried it out quickly this morning. If you could get the third, fifth and seventh on top without changing inversion it's a great way of practicing chords.

Cheers

Dave

[bako]

Not Dasein but perhaps this will help:

Reading down gives you all 3 melody chord tones except the bass note, keeping the chord in the same inversion.

C G B E ----- E B C G ----- G C E B ----- B E G C

C B E G ----- E C G B ----- G E B C ----- B G C E

C G E B ----- E B G C ----- G C B E ----- B E C G

Reading down you go thru the 3 inversions while maintaining the same melody note

B E G C ----- C G B E ----- E B C G ----- G C E B

G E B C ----- B G C E ----- C B E G ----- E C G B

E B G C ----- G C B E ----- B E C G ----- C G E B

[DaveF]

Thanks bako, I guess the compromise here is the root of the chord doesn't always stay in the same place (I think in terms of root movement, Joe Pass said he did as well) and you can't always get 3, 5 & 7 on top.

Sent from my SM-N9005 using Tapatalk

[jasaco]

Is "drop #" voicing a guitar-specific term? I've never come across it in any other field of music, only 1st inversion, 2nd inversion, etc., which are different.

Sorry for the slight off-topic departure, but I've been meaning to ask this of someone and this seemed a reasonable place.

[matt.guitarteacher]

No. It's an arranging thing, but they are very handy for guitar, where many close voiced inversions are impossible or very difficult play.

Drop 2 Chords | Chart, Voicings, Progressions & Exercises (+ PDF)

[DaveF]

Even pianists use them. I guess so that they can play larger chords with one hand

Sent from my SM-N9005 using Tapatalk

[bako]

Thanks bako, I guess the compromise here is the root of the chord doesn't always stay in the same place (I think in terms of root movement, Joe Pass said he did as well) and you can't always get 3, 5 & 7 on top.

I'm a bit confused by what you said.

You can get 3,5,7 with the root in the bass
You can get 1,5,7 with the 3rd in the bass
You can get 1,3,7 with the 5th in the bass
You can get 1,3,5 with the 7th in the bass

[DaveF]

I'm a bit confused by what you said.

You can get 3,5,7 with the root in the bass
You can get 1,5,7 with the 3rd in the bass
You can get 1,3,7 with the 5th in the bass
You can get 1,3,5 with the 7th in the bass

Yes that's pretty cool but it would have been even better if it worked out that there was always a chord available that puts 3, 5 & 7 on top as opposed to the root at times, even if that meant the bass note was not consistent. Instead I would like to have a consistent root.

Sent from my SM-N9005 using Tapatalk

[bako]

DaveF,

There are six class of drop voicings each of which can be ordered four ways.
They are made up of four notes each appearing one time.
Outside of this mechanical paradigm, we are free to omit notes and also double notes.
With doubling, it's possible to have whatever chord tone in the upper voice that you want.

[rpjazzguitar]

Pick a top note - working on a chord/melody arrangement perhaps.
Pick a bass note
Find a voicing with the other two voices.
Find another bass note.
Rinse and repeat.

Well said.

Speaking solely for myself and out of both sides of my mouth at that ...

I learned Chuck Wayne's system years ago, and that allowed me to get pretty much any melody note on top of any chord.

Here it is: xx3433 is G7. Move each note up to the next chord tone on the same string. You get xx5767. Do that twice more and you get four G7 grips on that string set. Use barres where you can, because you need to be able to move your pinkie around to grab different top notes. Do that for other chord types (like start with xx3333 for m7) and different string sets. A couple of months of work.

I had never heard the "drop" terminology until recently. I'm guessing that it might be helpful to get those voicings under my fingers. But, otoh, if you know the chord tones in the chords you use ... what ends up happening is that you start a chord melody with some voicing and then you have to voice lead to the next chord and so forth. So the first voicing in a section is very important, since it determines what voicings you are likely to consider next. If, for each chord, you know the chord tones, you can pick the sounds you want on the fly.

Most likely learning all the drop-n's will help in the long run, I guess. But, that said, the most astonishing chord melody player I've ever seen up close (Guinga) does not use theory and he plays voicings that most people can't, and don't, play (huge stretches).