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If I had to generalise it I’d say, learn chords fr top down (guitar trio), bottom up (duo with sax or vocals), middle voices (ensemble) and top & bottom (solo)
it’s not about how many voicings you know, it’s about how well you know to use them. Many guitarists sort of plonk down voicings automatically, while thinking about the above makes you way more useful in various settings.
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08-20-2021 04:19 AM
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Originally Posted by rpjazzguitar
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Originally Posted by Christian Miller
This is a great way to organize and think about this. Throwing down a bunch of drop 3's with a note on your low E string might get a piano and bass player giving you some side eye.
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Originally Posted by ragman1
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Originally Posted by WILSON 1
Drop voicings are 4 notes, so you would either drop the C7, or the upper extension which is Em7b5. Put on a static C9 backing and play all the Em7b5 drop 2 inversions over it for some great sounds. Learning the voicing and the sound is more import than what note is dropped where. I remember all voicings based on the top note, so for example the voicing x-x-5-7-5-6. I don't know what is dropped where but I know that it is an upper extension of C9 that gives me the 7th, or Bb, in the melody. This makes it very helpful to harmonize melodies on the fly by only thinking of the top note.
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Originally Posted by Paulie2
The trick, as Christian mentioned above, is using the sound correctly once you have absorbed all the voicings.
The question is whether the voicing should suit the occasion or the occasion suit the voicing. I would say the first one because the second sounds awfully like rigid thinking.
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Originally Posted by Paulie2
I'd just see xx5756 as G-6 and if you're a Barry Harris fan ( as I am ) with the G-6 dim scale, you get both harmonic and melodic minor scale sounds.
Charlie Garnett - Franken Tele
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