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I struggle with this shape these days, particularly at the cowboy end. X3525x. I call it a 6th. Don't know if it's a 'drop anything'.
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07-11-2024 02:05 PM
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Originally Posted by garybaldy
incidentally also Minor 7, drop 2, first inversion.
With four note chords, basically everything is “drop” something. It’s useful for arranging, because you can just choose the spacing you want and the arrangement of pitches kind of takes care of the voiceleading for you.
On a guitar the drop terminology is super useful if the chords are going to be moving a lot because it implies the voiceleading in super straightforward plug and play kind of way. If the objective is nice playable voicings, then the terminology isn’t terribly helpful
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Originally Posted by garybaldy
EDIT: I am talking about the maj7 in question in the OP only on string group 2-3-4-5.
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Originally Posted by ecline
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Originally Posted by pamosmusic
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Originally Posted by Bop Head
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Originally Posted by Mick-7
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Originally Posted by Mick-7
You transposed the string set
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Originally Posted by pamosmusic
x-3-x-2-5-x or x-x-5-2-5-x
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Originally Posted by garybaldy
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Originally Posted by garybaldy
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Originally Posted by garybaldy
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How about barring with the middle finger instead of the ring finger? I can't figure out what going wrong for you.
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Originally Posted by ecline
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Originally Posted by BigDaddyLoveHandles
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I play xx3555 with the index finger and a third finger barre. That leaves the pinkie free to catch the B at the 7th fret high E string. It makes the chord, more or less, an F^7#11. It's completely comfortable and I haven't ever had to think about it.
If it's really taking an uncomfortable amount of pressure to fret those notes, it might be worth reconsidering the guitar's setup. String gauge, action height, tailpiece design, neck adjustment can all matter.
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Question to the OP:
How about this minor 6 resp. rootless dom 7/9 drop 2 voicing? Is that difficult too?
x-x-3-4-4-4 (fingering: x-x-1-3-3-3)
or this dom 7/9/13 resp. min 6/9 resp. maj 7/b5:
x-x-3-4-5-5 (fingering: x-x-1-2-3-3)
or this min 6/9 resp. dom 7/9/13:
x-x-3-4-4-6 (fingering: x-x-1-3-3-4)
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Originally Posted by supersoul
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Originally Posted by jazzshrink
This shape is getting really tough now xx2325 (C13b9). My index finger knuckle hurts doing the 2nd fret barre unless I change my wrist position but then the stretch to the 5th fret with the pinky is a challenge.
I don't know how Rich Severson does what he does and he looks like he's got it really bad.
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Originally Posted by supersoulOriginally Posted by garybaldy
or: 8-x-7-5-5-x (C6 root doubled)
= [C or G bass, double 3rd or dampen string, open E string]: (3)-(3)-(2)-2-1-0
or: (3)-(3)-(2)-2-3-0 (C6/9)
or: x-3-4-2-5-x (C6b5 / Am6)
or the chord I mentioned before: x-3-x-2-5-x (5th omitted)
If you don't need the E on top, there are more alternatives in that position.
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x322xx is CEA. You don't miss the 5th so much. You hear C6. You may hear the 5th as an overtone of the root.
It is then quite comfortable to switch to x323xx [EDIT: x324xx thanks to the post below] which is CEB. Cmaj7 and you may hear the missing G, again, as an overtone of the root.
Very easy pair of grips to put some movement into too many beats of Cmaj. You may even be able to use the open B and E.Last edited by rpjazzguitar; 07-12-2024 at 08:22 PM.
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Originally Posted by rpjazzguitar
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Originally Posted by ecline
But:
Originally Posted by ecline
And are you certain that ring doesn't handicap you(r playing) in any way?
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Originally Posted by pcjazz
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Originally Posted by nevershouldhavesoldit
Any rearrangement of the order of pitches from close-spaced root position (e.g., F A C E) in a chord is an inversion.
The traditional (my term) inversions are:
If the root is in the bass, it's a "root position" voicing.
If the 3rd is in the bass, it's a "first inversion".
If the 5th is in the bass, it's a "second inversion".
If the 7th is in the bass, it's a "third inversion".
The order of the pitches above the bass note is not relevant to the inversion name.
So if you start with a close-voiced Fmaj7 chord in root position and apply the "traditional" inversions to it, you get:
root position: F A C E
1st inversion: A C E F
2nd inversion: C E F A
3rd inversion: E F A C
If you apply the drop-2 process (it's a process, not really a result) to the traditional inversions you get:
F A C E => [drop-2] => C F A E
A C E F => [drop-2] => E A C F
C E F A => [drop-2] => F C E A [typo, corrected from "f c e f", caught by supersoul - thanks]
E F A C => [drop-2] => A E F C
If you apply the drop-3 process to the traditional inversions you get:
F A C E => [drop-3] => A F C E
A C E F => [drop-3] => C A E F
C E F A => [drop-3] => E C F A
E F A C => [drop-3] => F E A C
If you apply the drop-2&3 process to the traditional inversions you get:
F A C E => [drop-2&3] => A C F E
A C E F => [drop-2&3] => C E A F
C E F A => [drop-2&3] => E F C A
E F A C => [drop-2&3] => F A E C
If you apply the drop-2&4 process to the traditional inversions you get:
F A C E => [drop-2&4] => F C A E
A C E F => [drop-2&4] => A E C F
C E F A => [drop-2&4] => C F E A
E F A C => [drop-2&4] => E A F C
If you turn the traditional inversions upside-down you get:
F A C E => [upside-down] => E C A F
A C E F => [upside-down] => F E C A
C E F A => [upside-down] => A F E C
E F A C => [upside-down] =>C A F E
These pitch orders (all the pitch orders derived above) are all unique:
A C E F – these six are all 1st inversions
A C F E
A E C F
A E F C
A F C E
A F E C
C A E F – these six are all 2nd inversions
C A F E
C E A F
C E F A
C F A E
C F E A
E A C F – these six are all 3rd inversions
E A F C
E C A F
E C F A
E F A C
E F C A
F A C E – these six are all root position
F A E C
F C A E
F C E A [typo, corrected from "f c e f", caught by supersoul - thanks]
F E A C
F E C A
These 24 pitch orders comprise the complete set of permutations of four pitches taken four at a time for an Fmaj7 chord. There aren’t any others. It’s possible to vary the voicings somewhat by which strings you use to play the pitches, and by how many unplayed strings are interspersed with played strings, but the pitches will be in one of the orders listed above.
Many (not all) of these pitch orders can be played more-or-less easily on the guitar. The voicings derived from drop-2 and drop-3 processes are particularly straightforward to finger on guitar.Last edited by dconeill; 07-13-2024 at 06:57 PM. Reason: corrected 2 typos
Bemsha Swing from a recent gig
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